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THE PADUMAWATI
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4
MALIK MUHAMMAD 44151
EDITED, WITH A COMMENTARY, TRANSLATION, AND CRITICAL ¥
BY G. A. GRIERSON, C.LE., Pa.D.,
AND
MAHAMAHOPADHYAYA SUDHAKARA DVIVEDI, F. A.
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INTRODUCTION.
(Temporary).
The following is an attempt to give a correct text and translation of the Padumawati,! or Padmavati of Malik Muhammad of Jayas in Oudh. He flourished under Shér Shah in the year 1540 A.D., and numerous MSS. of his great poem are in existence.
The value of the Padumawati consists chiefly in its age. Mahk Muham- mad 18, we believe, the oldest vernacular poet of Hindistin of whom we have any uncontested remains. Cand Bar’dai was much older, but the genuineness of his Prithira] Ray’sa is denied by many competent scholars. Vidyapati Thakur, who lived in the year 1400 A.D., has only left us a few songs which have come down to us through five centuries of oral transmis- sion, and which now cannot be in the form in which they were sung. The preservation of the Padumawati is due mainly to the happy accident of Mahk Muhammad's religious reputation. Although profoundly affected by the teaching of Kabir, and familiarly acquainted with Hindi lore, and with the Hindu Yaga philosophy, he was from the first revered as a saint by his Muhammadan co-religionists.
He wrote his poem in what was evidently the actual vernacular of his time, tinged shghtly with an admixture of a few Persian words and idioms due to his Musalman predilections. It is also due to his religion that he originally wrote it in the Persian character, and hence discarded all the favourite devices of pandits, who tried to make their language correct by spelling (while they did not pronounce) vernacular words in the Sanskrit fashion, He had no temptation to do this. The Persian character did not lend itself to any such false antiqnarianism. He spelled each word rigorously as it was pronounced. His work is hence a valuable witness to the actual condition of the vernacular language of Northern India in the 16th century. It is, so far asit goes, and with the exception of a few hints in Alberuni’s Indica, the only trustworthy witness which we have. It is trustworthy, however, only toa certain extent, for it often merely gives the consonantal frame work of the words, the vowels, asis usual in Persinn MSS., being eenerally omitted. Fortunately, the vowels can generally be inserted correctly with the help of a few Dévanagari MSS. of the poem which are in our possession,
Besides its interest asa key toa philological puzzle, the Padumawati also deserves notice for its contents. In itself it is a fine poetical work, and ono of the few original ones, not dealing with cither Rama or Krishna, with which we are acquainted in any Indian language. It is also remarkable for the vein of tolerance which runs through it,—a tolerance in every way worthy of Kabir or of Tul’si Das. The story of the poem has been a favourite
1 The author himself invariably spells the word thus.
Vi INTRODUCTION.
one with eastern authors. Husain Ghaznawi wrote a Persian poem on the subject, entitled Qissae Padmawat. Rai Gobind Munshi in 1652 A.D. wrote ४ version in Persian prose, called (after the chronogram of its date) Tukfatu-l- Kuluwb. Again Mir Ziyau-d-din ‘Ibrat, and Ghulam ‘Ali ‘Ishrat wrote a joint version in Urdii verse in 1796 A.D. Malik Muhammad’s poem was written in 1540 A.D.
Concerning the author little is known. He tells us himself that he was the disciple of Sayyad Muhiud-d-in. He studied Sanskrit Prosody and Rhetoric from Hindi Pandits at Jayas. He belonged to the Cistiya Nizamiyad, that is to say, he was the eleventh disciple in descent from the well-known Nizimu-d-din, who died in 1325 A.D. Muhiu-d-din’s teacher was Shaikh Burhan, who resided at Kalpi in Bundél’khand, and who is said to have died at the age of a hundred years in A.D. 1562-63. The poet was patronized by Shér Shah.
The only other fact which we know for certain is that he was blind of one eye. I have collected the following traditions about him. One of Shér Shah’s allies was Jagat Dév, (enthroned 1527 A.D.: died 1573 A.D.), Maharaj of Ghazipur and Bhoj’pur. He was present at the battle of Bagh’sar (Buxar) in which Shér Shah defeated Humaytn. Malik Muhammad is said to have attended his court. Two of Malik Muhammad’s four friends, whom he mentions in his poem (22) were also patronised by Jagat Déy. These were Yisuf Malik and 8816016 Singh (whom Malik Muhammad calls Miy& as if he was a Musalman). It is said that another attendant at Jagat Dév’s court wasa Katthak, named Gandharv Raj, who was skilled in the art of singing. Malik Muhammad was greatly attached to him and gave him his blessing, prophesying that skill in song would always remain in his family, and, at the same time, begging him to take, asa sign of affection, his title of Malik. Ever since, Gandharv Raj’s descendants have called themselves Malik, and members of the family still hve in Talika Raipura and at Haldi in Baliya District, and are renowned singers.
It is said that the Raja of Améthi was childless, but was granted a son, in consequence of the prayers of Malik Muhammad. When the poet died, he was buried at Améthi, and his tomb is still shown, and worshipped by believers. Malik Muhammad’s two friends, Malik Yusuf and Saloné, died in what is now the district of Gdrakh’pur, from a surfeit of mangoes. Malik Muhammad was with them at the time, and himself narrowly escaped. The mangoes are said to have been infested by poisonous insects.
The text of the Padumawati, being in the théth Hindi language, and written in the Persian character, is very difficult both to read and to under- stand. It has been frequently transliterated into the Nagari character, but the transcriptions, whether MS. or printed, are full of mistakes, generally guesses to make the meaning clear. The best transliterated edition is that by Pandit Ram Jasan of Banaras; but even in his case (putting instances of sanskritization out of sight) hardly a line is correct. There are several printed editions in the Persian character, but they too are all incorrect. We have been fortunate enough to become possessed of several old MSS. of the poem inthe Persian character, and by diligent comparison we have endeavoured to reproduce, in the Nagari character, the actual words written by the poet. A glance at the critical notes will show the labour involved in the task.
INTRODUCTION. 3
For the purposes of these specimens, we have used the following MSS, :—
A. MSS. in Persian character (marked collectively as P).
(1) India Office Library, Pers. Cat. 1018. Dated 1107 Hij. =1695 A.D. (Ia).
(2) Ditto No. 1975. ‘Vowel marks freely used. Correctly written. Dated 1109 Hij.=1697 A.D. (Ib).
(3) Ditto No. 1819. Vowel points ‘inserted in red ink by a later hand. Dated 1114 Hij.=1702 A.D. (Ic).
(4) India Office Library, Urdu Catalogue, No. 3130. Few vowel points. In two different handwritings. No date, (Id).
All these Persian MSS. are very fairly correct. We have taken Ib. as the basis throughout.
B. MSS. inthe Dévanigari character (marked collectively as N)
(1) India Office Library, Sanskrit Catalogue, No. 2471. A magni- ficent copy, profusely illustrated. Written by Thana Kayath of Mirzipur. No date. Spelling highly Sanskritized (Is).
_ We must here express our thanks to the authorities of the India Office Library, for the loan of the above MSS.
(2) A well written copy kindly lent me by the late Kaviraj Syimal Das, belonging to the library of the Maharaj of Udaipur. Spelling not so Sanskritized. Dated Sambat 1895=1838 A.D. (WU).
C. MSS. in the Kaithi character.
(1) A clearly written copy. With very irregular spelling: and many important variations in the readings. Written in Sambat 1812 = 1755 A.D. (K).
(2) A well written correct copy, but incomplete. The commence- ment, and several portions in the middle are missing. It also contains several interpolations. Written in Sambat 1758 (A.D. 1701), at Vaitala-gadha, by Jaya-krsna Dubé, the son of Hari-ram. The last १८12 is numbered 739. (Ké).
(3) A fairly correct copy. Complete. Contains several interpola- tions. Commenced in Sambat 1879 (A.D. 1822). Writer’s name not mentioned. (K§%).
These three books are full of various readings, and owing to the use of the Kaithi character, the spelling is very irregular. All the readings of K® and K%, have not been inserted, but only those which illuminate doubtful points in the text.
As might be expected in a work sometimes written in the Persian, and sometimes in the Déva-nagari character, the spelling of the MSS. is very capricious. In editing the text, we have adopted a system of spelling, and of representing grammatical forms, which, we believe, represents as nearly as possible the practice of the best copies. In a critical edition, a uniform system of spelling is absolutely essential, and as no single manuscript follows any rules on the subject we have allowed ourselves some latitude. The principal points are as follows :—
Spelling :—Prakrit words are spelt as in the Persian copies. When the Persian copies give vowels, those vowels are adopted. When no vowels are given, we have used our judgment in adopting the vowels given in the Dévanagari and Kaithi copies.
4, INTRODUCTION.
On the other hand, for precisely similar reasons, we have generally adopted the spelling of Arabic and Persian words which is best vouched for by the Dévanagari and Kaithi copies. Such words are phonetically spelt in that alphabet,
U and K uniformly write सु 98 श्, We have not followed them in this.
The termination # nh, is capable of being read as equivalent to either the plural oblique termination न्द्, or to the singular oblique termimation fe or दि. Unless the context showed that न्द् is required, we have trans- literated it ददि. Even in the best Persian MSS. the nasal is inserted so capriciously, that itis at least doubtful whether it should be used in the singular, and we have accordingly followed the best Dévanagari MSS., in omitting it, in this case, throughout.
In Tadbbava words, a Sanskrit or Prakrit medial म becomes वं (Cf. Héma-candra’s Prakrit Grammar, IV. 397). Thus the representative of the Sanskrit कमल्लम् 18 Hae (not aaa), and of स्मरणम्, vata. This वं, at the end of a word becomes जं, thus नां (not aig), a name. When @or anusvara, however, forms the. first member of a compound, the preceding vowel is nasalized. Thus खरब (for Prakrit yw), a mango, सवारद्, (for वारयति), he arranges.
In the preposition अव, the व॒ becomes ख. Thus, च गादि, for अवगाह, having bathed. In other cases after 4, श, or छ, medial व remains unchang- ed. Thus Waa, wind, भवन, a house, Hatt, a savage. After any other vowel, medial व is dropped. Thus yaa (for सुवन), earth, fay (for जिवना), life. A final व always becomes च. Thus ay (for जोव), life. Similarly for य, é.g. नयन.
Scheme of transliteration adopted in this work :—
Go, सयाद, द, T7,5u, HA, Be, TE, Blo, BG. ˆ ~, thus |Z, atl a, द् 2, दू ह, 10 80 00. > m.
The following vowels occur only in a few Sanskrit words, कह r, रे az, @t au. In Tadbhava words रे and gt do uot occur. स्मद् 15 transliterated ८2 and अच au. In Nagari MSS. when @ and qt occur, they are plainly steno- eraphic signs for खद् and अख. This is frequently shown by the metre. There is no danger of confusing चद्, Wy, and रे, wt, for they appear in distinct classes of words, 4%, WY, are always in Tadbhava words, or in corrupted Tatsama words, रे and खौ occur only in words lifted bodily from
- Sanskrit :-—
ak, a@kh, ग ८4, घ gh, ड 7.
च ८, Bch, 7, Mh, An
Zt,ath,ed, dh, x.
ai, w@th,zd, udh, an.
प, फ ph, a b, भ Oh, Hm.
ay, tr, लल ¢. aw, (or in Sanskrit words v). Gs, स॒ 5, Gh,
x only occurs in Persian words, representing the Persian (८, or in pure Sanskrit words. In the former case it is transliterated sh, and in the latter by ¢.
Arabic and Persian letters.
Ss ch ८ ४०22 tes (2 £ ५६ 4.4 fy.
INTRODUCTION. 5 Grammar.
SUBSTANTIVES :—The oblique cases are all formed by adding दि or इ for the singular, and f¥ or ¥ for the plural, before which, a final long vowel is short- ened. Thus from राजा, a king, we have राजद or tere, for the Instrumental (or Agent), Dative, Ablative, Genitive and Locative Singular. In the Plural, न्ह is sometimes substituted for दिं, thus कानन्ह (38, 2), in (their) ears. The Nominative Plural is usually the same as the Nominative Singular. Post- positions are not often used. We find, however, ag for the Accusative and Dative, ay for Instrumental and Ablative, az, मादा, Wet, and y= for the Locative, and others. The following postpositions are found for the Genitive कं 0८ कं (fem. Hx), कर (fem. करि), केर (fem. कैरि). At the end of a line we often have केरा (fem. केरो).
Pronouns :—Ist Person; मट्, or इं, 001. मोदि or मो, genitive मौर. Plural
wa, ५0. | ।
2nd Person: q or तुद, ०1. तोडि or तो, genitive तोर or ASX. Plur. Gy, &e.
Demonstrative : वद्ध 07 weg, case of Agent, वेद् or Wes, obl. Ws or
| च्योदो ; Plor., Nom. वद्ध or 4%, Agent, 4, Obl. उन्ह.
Relative: जो, Agent siz, Obl. जडि or जा, Genitive arg, &e. Plur. जे, siz, Agent sz, Obl. (including gen.) fay. जा 13 never used as an adjective.
So also the Correlative सो or तेद्,
Interrogative: को, who? का what?
Indefinite, कोद or कोख, anyone, obl. ax. fae, anything.
Singular. Plural. VERBS :—Present: 1. @ay, I see. tute, टेखद्ं 2. देखि, duly, fue. aus, tay. 3. देखि, देखि, दे खद्, 2a. टेखद्दि, रेखद्. The forms in fe and f¥ are rather rare. Singular. Plural. Past : 1. रेख; vate 2. टेखसि, ` टे खे. 3. देखेसि, २ेख (रेखा) टेखददि. From रना, दौन्देसि, he gave. So लेना. Stngalar. Plural. Future: 1. 2faes. faye. 2. देखिद्द्. । टे खिद. 3. टेखिदद्. टे खिद्.
टेखष, Fem. देखि, may also be used for all persons of both numbers From टेना, we have, 3rd. sg., lez. Pres. Part: देखत, Past, देख. Conj. Part: @fa, देखि ag. From टना पणत् जेना wo have दद् or हेद्, and MT or Az.
The past tense of a neuter verb is thus conjugated.
6 INTRODUCTION.
Singular. Plural. 1. aby, fem. avy, I went. गण, fem. az. 2. WI or गा, Wy. Do. 3. WGI or गा, गद्. Do.
The above does not, of course, pretend to be a complete grammar. It is only meant to show the spelling of the principal forms.
The metre of the poem consists of stanzas of seven caupais followed by a 4612. In the latter, a mdatra is frequently omitted in the first half. In the caupais, accent is frequently used instead of quantity, a short accented syl- lable being treated as a long one, especially at the end of aline. Malik Muhammad wrote long before Kécava-dasa laid down the canons of Hindi metre. Such accented short syllables we have marked, in transliteration with an acute accent, thus,—niramdré (2, 3).
TRANSLATION.
Canto I. Tur PREFACE.
(1). Ibear in mind that one and only primal Maker, who gave life and made the world. First made He manifest the Inght, then made He (for the Light) the mighty mountain Kaildsa.! He made the fire, the air, the water, and the dust, and, from them, made He forms* of varied hue. He made the Earth, and Heaven, and Hell; and He made incarnations in many persons. He made the mundane ege* with its seven’ continents. He made the universe with its fourteen® worlds. He made the sun for the day, and the moon for the night; He made the asterisms and the systems of the stars. He made coolness, sunshine and shade; He made the clonds and lightning (that abideth) in them.
1 By ‘Light,’ the poet refers to Mahadéva, who dwells in Kailasa. Indian Musal- mins frequently consider Adam, the first man, as the same as Mahadéva. The fact that the poet expressly says that Kailasa was made ‘for’ the Light, shows that he cannot be referring to light, the first of created things. In the system of the Nanak-panthis, to which Kabir, from whom Malik Mahammad borrowed wuch, originally belonged, the Supreme Being is, in its essence, 265६ or light, which, though diffused into all creatures, remains distinct from them. The Human Soul is also this light, a scintilla anime divine, which has emanated from the absolute, and is itself immortal. See Trumpp, Adi Granth, pp. ci and ff.
2 An Urdi gloss translates uréha by ८८, design, stamp, drawing. I have noted it also in asa mérata ké dat uréht, and in bhat ur¢ha puhupa saba nama. In the second the Urdu translation gives Es pole and io the latter, the whole line 18 trans. lated (> ~ (> + Je Hy Ky a5 {i Gyo (+ >+ ०६ ॐ. The word is still used in Oudh and Bihar by women, in the sense of racand. It is derived from the Skr. wllékha.
8 Apparently, incarnations in many castes. Alluding to the doctrine that incarna- tious have occurred in all religions in many parts of the world. Or it may, as the comm. suggests, only refer to the various avatars of Visnu.
4 I. ९,, the universe, alluding to the well known tradition detailed in Manu.
5 The seven horizontal divisions of the world, viz., Jambu, Plaksa or G6Smédaka, Calmala, Kuga, Krantica, Gaka, and Puskara.
6 There are seven worlds (loka) above, ४४५. Bhir-loka, Bhavar-]., Svar-l., Mahar-l., Janar-l., Tapar-l., and Satya-l. or Brahma-l., and seven below, viz., A-tala, Vi-tala, Sn-tala, Rasi-tala, Tali-tala, Maha-thla, and Patiala, According to Musalmans, there are seyen regions ( (> ) above (these are heavens), and seven below (earths),
1
2 PADUMAWATI. [1—4
All things are so made by Him, that naught is worthy to be compared with Him. First take I His name, and then in deep thought do I begin! my story.
2. He made the seven*? shoreless oceans, and He made the mountains of Méru and Kukhanda.* Rivers made He, and streams and springs; croco- diles and fish made He of many kinds. He made the oyster shell, and the pearl which filleth 1 ; He made many flawless gems. Forests made He and roots;* tall trees made He, palmyras and date palms. He made the wild animals 5 which dwell in the forest; He made the fowl which fly whither they will. He made colours, white and black; He made sleep, and hunger, and rest. He made the betel-leaf and flowers, and the pleasures of taste; many medicines made He and many sicknesses.
He made them in less than the twinkling of an eye; allmade He in a single instant. He fixed the Heavens in space without a pillar, and without a prop.
3. He made man, and gave him dominion; He made grain for his food. He made the king who taketh pleasure in his kingdom; He made elephants and horses for his array. He made for him many delights; some made He lords, and others slaves. Wealth made He from which cometh pride; He made longings which none can satisfy. He made life which all men ever desire; He made death, from which none can escape. Happiness made He and myriads of joys; sorrow made He, and care and doubt,® Some made He poor and others rich; He made prosperity and very deep adversity.
Some made He weak, and others strong. From ashes made He all, and again turned He all to ashes.
4. He made agallochum, musk, and the scented khas grass; He made the camphors,—bhimaséni? and céna.2 He made the snake in whose mouth dwelleth poison; He made the snake-charm which carrieth off the bite, He made the Water of Life, which giveth eternal life to him who getteth it; He made the poison, which is death to him who eatethit. He made the sugarcane filled with sweet juice ; He made the acrid creeper with its manifold fruit. He made the honey which the bee stores in its home; He made the humble bee, the birds and winged creatures. He made thefox, the rat and the ant; He made many creatures which dig the earth and dwell therein. He made demons, goblins and ghosts; He made ghouls and Dévas and Daityas.
1 Two Urdii glosses translate augahi by ६4 sy a meaning for which I can find no other authority. It means literally to plunge into water, hence to be immersed in anything, to have the mind fully occupied. `
2 These encircle the seven continents (dvipas) mentioned in 1. 5. Their names are, Lavana (or Kgara), Iksu, Sura (or Madya), Ghrta, Dadhi, Dugdha, Jala. The author, in the description of the seven seas, later on, gives a different enumeration, viz., Khara, Khira, Dadhi, Jala, Sura, Udadhi, Kilakila.
8 Méru is the well-known mountain. It represents the northern hemisphere or pole, and is the abode of the Gods. Kukhanda 18 Kuméru, the southern hemisphere or pole, the region of the duaityas or demons. The poet has mixed this up with Kiskindha, also to the south of Oudh, and has confounded the two names.
4 Jari is a root used for medicine, and mért is a root used for food.
¢ Séuja is any animal used for food.
6 Two Urdi glosses translate danda by re grief, but the dictionary meaning of the word is enmity (dwandwa). Here it means opposition of ideas, doubt.
1 The Bhimaséna-karpira of Sanskrit,
8 The Cina-karpira of Sanskrit.
4—8] PADUMAWATI. 3
He made eighteen thousand creations of varied kinds.! For all did He make meet provision, and thus gave food to all,
5. He indeed is a master of wealth, to whom belongeth the universe ; to all He giveth continually, yet His storehouse minisheth not. To every creature inthe world, aye,from the elephant even unto the ant, doth He day and night giveits share of nourishment. His eyeis upon all: none is forgotten, neither foe nor friend; nor bird nor grasshopper, nor aught whether manifest or hidden is forgotten. He deviseth dainty food of many kinds. All doth He feed thereof, yet eateth not Himself. His meat and His drink is this— that to all He giveth nourishment and life. All have hope in Him at every breath, nor hath He ever (turned) the hope of any to despair.
101 after 8807 doth He give, yet never minisheth (His store). Yea, so doth He this with both hands, that whatever hath been given in this world, hath all been given by Him.
6. Let me tell of Him as that great primal king, whose rule is glorious from the beginning to the end of things. Ever all-bounteous doth He rule, and whom He willeth, rule to him He giveth. He maketh umbrellaless him who hath the umbrella of royalty ; and He giveth its shade unto him who is without ib; no other is there whois equal unto Him. The people all look as He upturneth the mountains, and maketh the ant (that crawleth from beneath them) equal unto the elephant. Adamant He maketh like unto straw and scattereth it, and again He maketh straw like adamant, and giveth it honour. For one created He food, and enjoyment and all happiness; another striketh He with beggary and a home of poverty. No one understandeth what He hath done, for He doeth that which is beyond the power of mind and thought.
All else is non-existent.4 He alone is ever the same, whose wondrous creations are such as these. He createth one and destroyeth him, and, if He will, He formeth him again.
7, Invisible, formless and untellable is that Creator; He is one with २ all, and allare one in Him. Whether manifest or hidden, He is all pervad- ing ; but only the righteous recognize Him, and not the sinful. He hath no son nor father nor mother, no family hath He, and no relations. He hath begotten none, nor 1s He begotten of any; but all created beings proceed from Him. All things, as many as exist, He made; nor was Hemade by any one. He was at the beginning, and He is now; He alone remaineth existent and no one else. All else that are, are mad and blind; for after but two or four days they do their work and die.
Whate’er He willed that He did, He doeth that He willeth to do. No one is there to prevent Him, and, by his mere will, He gave life to all.
8. In this manner know ye Him, and meditate upon Him, for so is
1 There is no such enumeration of created beings in the works of Musalman doctors, but, in poetry, both Persian and Hiudistani, phrases like hizhda hazdr ‘alm, the eighteen thousand created beings, are of frequent occurrence ;—more especially in the class of works called maulad, which celebrate the Prophot’s birth. The expression merely means an enormous quantity, like our ‘ thousand and one.’
3 Urdii gloss os, transient.
8 The Urdu gloss translates baraté by UNSW “near,” but I know of no authority for this meaning. Barate means एष hud, twisted as a rope is twisted, honce involved in, closely connected with. Compare Bihari Sat sai, 69, d?thi barata bddhi atani, twisting their (mutual) glances into a rope, they bind it from balcony to balcony.
4 PADUMAWATI. [8—10
the tale written in the holy book.! The Lord hath no life, and yet He liveth ; He hath no hands, and yet He maketh all things, He hath no tongue, yet He telleth everything; He hath no bodily form, yet that which He shaketh,isshaken. Fars hath He not, yet heareth-He all things; Heart hath He not, yet The Wise One discriminateth all things. He hath no eyes, yet all things doth He see; How can anyone discern as He doth P No one hath a form like unto His; nor, like Him, is any one so incomparable. He hath no abiding place, yet He is not without an abiding place (for He is omnipresent). He hath no form nor mark, yet His name is Tue Porn.
He is not indiscrete, nor is He discrete, yet so doth He dwell (within the universe), and fillit (with Himself). To those who can see, He is near, but He is far from the foolish blind.
9. The simple-minded knoweth not the secret of the other priceless jewels which He hath given. He hath given usa tongue, and the pleasures of taste; He hath given us-teeth, which brighten? a smile. Hyes hath He given us, to see the world; ears hath He given us with which to hear lan- guage. He hath given the throat in which dwelleth our speech; He hath given us fingers and noble arms. Graceful feet hath He given us with which we walk; that man knoweth the secret of all these blessings who hath none. Yea, itis the old who know the secret of youth; when they find not their young days though they (go bent forward) seeking them. The great man knoweth not the secret of poverty; but the poor man knoweth it, to whom poverty is come.
Jt 18 the sick man who knoweth the secret of the body, while the healthy man liveth careless; but the secrets of all are known to the Lord, who abideth ever in every body.
10. Very immeasurable are the makings of the Maker; no teller can tell them. If (all the writers of) the Universe took the seven heavens? for paper, and filled the seas* of the earth with ink; if they took as many branches as cover 9 all the forests in the world, and all the hairs and down (of animals), and all the feathers of birds; if they took the motes of dust and salt where’er they found them, and all the drops in the clouds and all the stars of heaven; and turned them all to pens and wrote, still then they could not write the sboreless ocean of his wondrous works. So
hath He manifested all His skill, that even now not one drop of that ocean hath decreased. Think thou of this, and let not pride be in thy heart ; for mad is he, who, in his heart, nourisheth pride.
Very full of holiness is the Lord. What He willeth, for Him that quickly is. Sofull of holiness can He make a man, that that man, himself, performeth countless holy actions.
1 Urdi gloss for purdna, wT _s3, the Qur’an. This is quite possible. It will be seen that Mallik Muhammad frequently uses Hindu words as Musalman technical terms, 17, G., céla, xx, 4.
4 Lit., are fit for.
8 The seven Heavens, see note to i, 5.
* The seven seas of Hindu tradition, see ii, 1. The general idea of 1178 verge ig taken from the Kahf or Cave Sirah of the Quan. Verse 109 runs ‘Say, “ were the sea ink for the words of my Lord, the sea would surely fail before the words of my Lord fail; aye, though we brought as much ink again.” `
¢ Bana-dhdkhd, is equivalent to bana (€ dhikhané-wdélé, (branches) which cover the forest. The subject of all these objects is sansdré in the fifth line,
11 —12] PADUMAWATI. 5
11. ‘Thus, made He one man without a blemish, named Muhammad, 21011. ous as {06 full moon. It was his radiancy that God first produced, and then for love of him He created the universe. He kindled that light and gave it to the world. The world became clear, and recognized its (true) way. If that bright man had not been, the dark path would not have been visible. The deity (Muhammad) wrote the second place (in heaven) for those who learned his creed.1 For those who have not taken (refuge in) his name throughout his life, God hath prepared a place inhell. God made him His messenger to the world, and whoever hath taken his name passes safely across both worlds. #
God will ask of each his virtues and his vices, (when) there will be the (great) casting up of accounts. But he (Muhammad) will humbly bend before him, and will effect the salvation of the world.
12. Muhammad had four friends, who (followed him) in his place, and the four had spotless namesin both worlds. Ast Bakr Sippig, the Wise, who first truthfully (stdq) brought the faith (10 the world).6 Then ‘Umar, who adorned the title (of Caliph); justice came to the world when he adopted the faith. Then ‘Usman, the learned and wise one, who wrote the Qur'an, as he heard its verses. Fourth came ‘ALi, the mighty lion; when he attacked, both heaven and hell quaked. All four had one mind, and one word, one path and one fellowship. Hach preached the same true word, which became authoritative, and read in both worlds.
‘The very Quran *which God® sent down (to this world), that holy book they read; and they who (have lost their way) in coming (into the world), when they hear it, find the path. 9
1 Lit., teaching. The Urdu gloss gives &JS, the Musalman creed.
£ The thaléka and paraléka of the Hindis. This world and the world to come.
8 Lit., brought.
4 Here again we have purdna used for the Musalman sacred book.
5 Here vidhi, a Hindu technical term.
6 Aba Bakr ibn Abi Quhafa was Muhammad’s dearest friend and father-in-law, and ove of his first converts. He enjoyed immense influence with his fellow citizens of Mecca, and earned by his probity the appellation of ‘as-siddiq,’ ‘The True.’ He accompanied Muhammad in the Flight, and on his death (632 A.D.) he became the first Caliph. He died 634 A.D.
‘Umar ibn Al-khattab was converted in the 6th year of the call (615 A.D.). His conversion carried with it so much weight that the Musalman traditions relate it with miraculous attendant details. Abi Bakr by his eloquence and address, and ‘Umar by his vigour and promptitude, supplied the want of the practical element in Muhammad’s character, ‘Umar set the example of public (instead of private) prayer, which was fol- lowed by other Muslims. He was the leading spirit of the Emigrants (muhajira) who had left Mecca at the time of the Flight, and settled in Medina. He procured the 7070108 - tion of Aba Bakr to be first Caliph, and, as a matter of course, succeeded him as second Caliph in 634. He was murdered at Medina in 644.
‘Usman ibn ‘Affin was one of Muhammad’s first converts, and married his daughter. He was elected third Caliph on the death of ‘Umar. The Qur'an was compiled in its present form in his reign. He was killed at the age of eighty-two in 655, in the rebellion which arose in consequence of the movement, the ultimate aim of which was the deposi- tion of ‘Usman in favour of ‘Ah.
‘Ali ibn Aba Talib was Muhammad’s cousin, and ono of his first converts. He fol- lowed him to Medina three days after the Flight. He succeeded ‘Ugman as fourth Caliph in 656, and was murdered in 660 A.D.
Tho first compilation of the Qur’in was undertaken by Zaid ibn Sabit, who was ap-
2
6 PADUMAWATI. [13
13. Shér Shah is Sultan of Delhi, who warmeth the whole world! even asthe sun. His kingdom and throne beseem him well; low on the earth have all kings laid their brows before him. By caste a Sir? and with his sword a hero; wise is he and fullof all skilfulness. In the nine regions the sun (or all heroes) hath set (or have bent low) before him,? and the seven continents* of the world have all bowed before him. All his kingdom he won with the might of his sword, as did Alexander, the Zi-l-qarnain.® On his
pointed to the work by the Caliph Abu Bakr at the instigation of ‘Umar. Zaid had been an amanuensis Of Muhammad. This redaction had no canonical authority, and discrepancies in the text soon appeared. Accordingly, ‘Usman confided to Zaid and three other Quraishites the preparation of an edition which was to be canonical for all Muslims. This text is the one which is now extant.
॥ Int., the four quarters. The use of khanda is uncommon, but it is the only meaning which I can suggest here. An Urdu gloss gives Wy L ८9) >
2 Here, and in the following stanzas there is a series of puns on the word si#ra, which is not only the name of the Afghan tribe to which Shér Shah belonged, but also means a hero, and the sun.
8 Lit. ‘In the nine regions there was a bending of sra,’ where, again, there is a pun on the word szra, ‘hero’ or ‘sun.’ According to the most ancient Hindi Geographers, India was shaped like an eight-petalled lotus. These eight petals, together with the cen- tral division, formed the nine khandas or regions, viz., Paficala (central), Kalinga (8. E.), Avanti (S.), Anarta (S. W.), Sindhu-Sauvira (W.), Harahaura (N. W.), Madra (N.), Kaun- inda (N. E.). The Purainas give a different list of names, viz., Indra (7.), Kaséru (N.), Tamraparna, (? S.), Gabhastimat, Kumarika (Central), Naga, Saumya, Varuna (W.), Gan- dharva. See Cunningham’s Ancient Geography of India, pp. 5 and 66. The Comm. gives Bharata-varsa, Kinnara-varga, Hari-vara, Kuru-varsa, Hiranmaya-varsa, Ramyaka-varsa, Bhadracva-varsa, Kétumalaka-varsa, and Ilavrta; cf. Visnu-Purana, ii, 2.
* See I, 5.
8 Zi-l-qarnain, ‘means ‘The Master of Two Horns.’ Musalman tradition varies about this name. According to some, the Zi-l-qarnain was not Alexander the Great, but another saint, who lived at the time of Khwaja Khizr, and who was so called from his having two curls hanging, one from each side of his forehead, or because he reached both sides of the world, or because he was noble by descent from both his parents, or because he went throngh both the light and dark parts of the:world, or because he died when struck on one side of the forehead, and then was restored to life, and again died on being struck on the other side of the forehead, and again came to life.
Beale’s Oriental Biographical Dictionary (Ed. Keene), says ‘Master of Two Horns, a title of Alexander the Great, probably based on coins representing him in the character of Ammon.’ Alexander’s coins show his head adorned with two ram’s horns. They were widely current in the Hast, and the Muhammadans probably gave him that name after his coins.
The Musalman idea of Alexander the Great is based upon legends contained in the Qur’- Sn and its commentaries. Thus, Burton, Arabian Nights, night cccclxiv, says, ‘Iskandar (i. e., Alexander) was originally called Marzban (Lord of the Marches), son of Marzabah, and, though descended from Yunan, son of Japhet, the eponymus of the Greeks, was born obscure, the son ofan old woman. Aceording to the Persians he was the son of the elder Darib (Darius Codomannus of the Kayanian or second dynasty), by a daughter of Philip of Macedon; and was brought up by his grandfather. When Abraham and Isaac rebuilt the Ka’abah they foregathered with him, and Allah sent him forth against the four quarters of the earth to convert men to the faith of the Friend or to cut their throats; thus he be- came one of the four world-conquerors with Nimrod, Solomon, and Bakht al-Nasr (Nabucho- १०००8३०१) ; and he lived down to generations of men. His Wazir was Aristi (the Greek Aris- totle), and he carried a couple of flags, white and black, which made day and night for him and facilitated his conquests.” The Comm. gives a well-known legend about the title given to him in the text. Alexander concealed the fact of his having horns from the pub- lic, and it was known only to his barber. One day, owing to sickness, this barber sent
13—14] - PADUMAWATI. vi
hand is Solomon’s ring,! and, with it, he gave gifts to the world with full hand. Majesticis he, and a mighty lord of the earth; like a pillar he sup- porteth the earth and maintaineth the whole universe.
Muhammad blessed him and said, Reign thou from age to age. Thou art the Emperor of the World. The world is a beggar at thy door.
14. I tell of the heroism of this king, Lord of the world, the weight of whose array is greater than the world can bear. When his army full of horsemen advanceth, covering the earth, mountains crash and fly away in powder, night cometh from the clouds of dust which eclipse the sun, so that man and bird alike goeth home to bed. The land taketh flight, and goeth up into the firmament; earth-dust covereth each continent,— yea the world, the
his son Babban Hajjam as his deputy. After the hair-dressing was finished Alexander warn- ed Babban, that if he told any one about the horns he would lose his head. The secret burnt within the wretched man so that he was like to burst, till he relieved his feelings by whis- pering it to an old Jack-tree. The Jack-tree, unable to tell the secret, withered and died, and a carpenter bought it and made two fiddles and adrum out of the wood. These were bought for a concert at the palace, but when people tried to play them before Alexander, all that one fiddle could be got to say was, sig sig, stg (horn, horn, horn), all that the other kin, kin, kin (who told ? who told? who told ?), and all that the drum, Bab- ban Hajjam,.Babban Hajjam, Babban Hajj@m. The secret was thus divulged. Compare the story of Midas. Another well-known legend (referred to in the Padumawati) is that he made friends with Khwaja Khizr, the Green Prophet, (see note to xx, 5) and was guided by himto Zalmat, the Land of Darkness (called the Kajjali-ban by Hindis), where exists the Fountain of Life. He was, however, unable to drink of this Eternal Spring, and veturned disappointed. His unsuccessful quest for the Water of Life has formed the basis of many stock poetical similes.
1 This 18 the famous ring with which Solomon ‘ was wont to imprison Jinns, Marids and Satans in cucurbites of copper, and to stop them with lead and seal them.’ It was made of stamped stone and iron, copper and lead. According to others it consisted of four jewels, presented by as many angels, representing the Winds, the Birds, Earth (including sea), and Spirits, and the Gems were inscribed with as many sentences: (1) To Allah belong Majesty and Might; (2) All created things praise the Lord: (3) Heaven and Earth are Allah’s slaves; and (4) There is no God but the God, and Muhammad is his messenger. This ring gaye Solomon power over all supernatural beings, and hence endowed him with unending wealth,—in fact the whole secret of his power lay in it. Solomon conquered the King of Sidon and married his daughter Jizidih. She 80 incessantly mourned for her father, that Solomon commanded the Jinns to make an image of him to console her, and to this she and her maids used to pay divine honours. To punish him for encouraging this idolatry, a Jinn named Sakhr one day obtained possession of the ring which Solomon had entrusted to his concubine Aminah, while he had gone out for a necessary purpose. During his absence the Jinn transformed himself to Solomon’s likeness, and came in and took it from her. Solomon also was changed in form and was not recognized by his subjects, and wandered forlorn about the world for forty days (the time during which the image had been worshipped in his house), while the Jinn reigned in his stead. At the end of that period the demon flew away, and flung the ring into the sea, where it was swallowed by a fish, which was afterwards caught and brought to Solomon who by this means recovered his kingdom and power. Solomon then imprisoned Sakhr in one of his cucurbites, and cast him into the lake of Tiberias where he still hes. This recovery of a ring by means of a fish is common to many legends. Compare those of Polycrates of Samos and of Gakuntala.
This Sakhr was the Jinn who brought Solomon the throne of Bilkis, the Queen of Sheba. Sho was a worshipper of the sun, and Solomon converted her to the worship of the true God, by this, and by his wisdom in answering her hard questions. He played one trick on her which is well-known all over the Hast. He heard that she had legs hairy like a goat, but could not ascertain the truth. So he made her walk over glass under- neath which was water with fishes swimming in it. Believing that she had to wade through deep water, she tucked up her petticoats, and revealed to Solomon that the report
(> „१, ११, [14—16
whole creation and the universe.) The Heavens tremble, and Indra quaketh in fear; the snake-god Vasuki fleeth and hideth himself in the lowest Hell.* Meru sinketh down, the oceans dry up, the forests break and are mingled with the dust. (When his army marcheth toa halting place) some of his advance-cuard may receive a share of water and of grass for their horses, but for none of his rear-guard is there even sufficient mud.
Citadels which have never bowed to anyone, when he advanceth all become dust,—when the Lord of the World, Shér Shah, the Sun of the Universe attacketh them.
15. I tell of his justice,? how itis upon the earth. Not even toa crawling ant doth anyone (dare to) give pain. Naushirwan* was called ‘The Just,’ but even he was not equal to the justice of Shér Shah. He did justice like unto ‘Umar, for the shout of praise to him was (heard over) the whole world. No one dareth even to touch a nose-ring lying fallen on the ground, (much less to pick it up and appropriate it). On the very highways do men cast about gold (yet no one snatcheth it). The cow® and the tiger walk together on the same road, and both drink water together at the same landing-ford. He straineth milk and water (mixed together) in his court, and separateth the one from the other. He marcheth with piety, justice and sincerity, and the weak and the mighty he keepeth on even terms.
The whole earth blesseth him, folding its hands continually, and crying, May that head endure immortal as long as there is water in the Ganges and the Jamuna.
16. Again, how can I describe his comeliness, for all the world desireth the beauty of his countenance. His comeliness surpasseth in brightness even the full moon which God created. Sin abandoneth those who reverently gaze upon him, and the whole world maketh obeisance and blesseth him. As when the sun blazeth over the world, so, before him,.all things hide their comeliness (in shame). Thus did the Sun? become a spotless man, with ten times more® beauty than the sun itself. No one can look upon him face to face, and if anyone see him, he remaineth with bent head. His comeliness
‘wag true. Solomon begat a son upon her, who the Abyssinians say was Menelek, the founder of their royal race. She was not a very estimable character before her conversion. Sa‘lab?, in his History of the Prophets, gives an entertaining account of her wrong doings. She introduced the worship of the sun into her dominion, and when she was married to her first husband against her will, she treacherously slew him on her wedding night. It required a mighty man like Solomon to tame so independent a young person. Much of this note is taken from Burton’s Arabian Nights, and from Palmer’s translation of the Qur’an.
1 The 4 mand has two meanings, either ‘to adorn ’ (mandana) ‘or ‘to crush,’ (mardas na). The passage here is corrupt in all MSS., and the reading is very doubtful.
2 See note to line 5 of the first stanza.
8 This reference to Shér Shah’s justice (‘adal) may have a complimentary reference to his son ‘Adal. Seo J. A. 8, B., Pt. I, 1890, p. 167.
4 The celebrated king of Persia, surnamed ‘Adil, or the Just. Heascended the throne 531 A.D. He was the Chosroes,of the Greeks. Muhammad (B. 571) used to boast of hig good fortune in being born when so just a king reigned. He died 679 A.D.
6 The second Caliph in succession to Muhammad. See note tol¥, 9,
6 Géru is properly any domesticated herbivorous animal. |
7 Here again the word sérais introduced with a threefold meaning, hero, sun and proper name. |
8 Agari means ‘ excellent,’
11-16] PADUMAWATI. 9
increaseth by a quarter, day by day, the Creator formed his beauty above the world.
Comely is he with a jewelled (tiara) on his ‘brow, and the moon waneth as he waxeth; while the earth, craving to see him, standeth and humbly offereth its praises.
17. Again God hath made him so greatly generous, that none in the world hath ever given gifts like unto him. Bali! and Vikramaditya’ were famed for their generosity, and Hatim Tae? and Karna* were described as lavish; but none of them equalleth Shér Shah, for the very ocean and even Mount Méru, are ever minishing (as they give up their jewels and gold). The kettle-drum of his generosity soundeth at his court, and the fame thereof hath gone even across the ocean. The world touched this Sun,> and became of gold compact, so that poverty fled and went beyond the borders of his kingdom. He who but once approacheth him and asketh, for all his life is free from hunger and from nakedness. Even that (King of old) who per- formed ten horse-sacrifices,® — even he gave not holy gifts like him.
So generous hath Sultan Shér Shah been born upon the world, that none hath e’er been like him, or will be, nor doth anyone give such gifts.
1 The well-known Daitya, who gave Visnu his famous three and a half paces of ground.
% *Clarum et venerabile nomen.’ The well-known king of Avanti, many legends of whose generosity are given in the Simhasana Battisi.
8 Familiar to readers of the Bagh-o-Bahar (story of the second Darwésh). His liberality continued after his death. His tomb was surrounded by stone images of girls, which each night used to burst out into lamentations for so good a man. King Zu-l-kara‘a camping near there one night, hearing the wailing, asked the reason, and was told it was the tomb of Hatim Taé. He then cried ont in jest, ‘O Hatim 56, we are thy guests, and hungry.’ Shortly afterwards one of his camels became violently ill and (8 they say in Ireland) to prevent its dying, they killed it, and then, to make the best of a bad job, had a good feast on its flesh. Next day, while they were on the march, they were met by Hatim’s son bringing a she-camel. He explained that his father had appenred to him on the preceding night, and said ‘ Zii-I-kari‘a sought hospitality from me last night, and I had nothing to give him; so perforee I killed his camel, and do thou now give him one in exchange for the one I took.’ History does not relate how the gon appre- ciated his father’s vicarious hospitality, but he certainly did accept the responsibility.
+ The famous Horo of the Mahabharata. The son of Kunti by Surya. He was famous for his generosity. Yudhisthira once asked Krsna, who was the most generous member of his family. 0 his mortification Krsna replied ‘Karna.’ The following is an example. A poor Brahman woman had a child born to her, and her husband went to Yudhisthira, and begged for some wood to make a fire to warm her. Yudhisthira ordered his steward to supply the fuel, but on the latter reporting that there was none just then available, he told the Brahman to go away, and to come again in an hour or two, when he could be supplied. The Brahman went on to Karna and made a similar request. It happened that, here too, the supply of fire-wood was temporarily deficient, and the steward asked Karna to tell the man to come again in an hour or two (as Yudhisthira had done). ‘ Fool,’ replied Karna, ‘shall I leave the poor woman to die of cold, while you are searching for fuel? Break up my beds till the Brahman has enough wood for to-day, and tell him to come to-morrow for more.’ ‘This,’ said Krsna to Yudhisthira, ‘is the difference botween you and Karna. Had you no beds to break up?’ The above legend is sung by the Vyasas at the passage “in Maha-bharata where Karna divested himself of tho ear-rings and armour (with which he had been born), and gave them to Indra, (See Maha-bhirata, Adi-parvan, Adhbyaya 67, Clokas 141-14.3).
¢ Again the triple pun on the word stra. Shér Shih is compared to a philosopher’s stone which changed all that touched it into gold.
6 This is a reference to Brahma, who completed ten Acva-médha sacrifices at Benares. The sile of the Sacrifice is the woll-kuown Dagi¢va-médha ghat in that city.
3
10 PADUMAWATI. | 16-22
18. Saiyad Ashraf (Jahangir)! was an elect saint, and he it was who threw hight upon my path. He lit the lamp of love within my heart; the hght burned np, and my heart became pure. My way had been dark and invisible, and lo! it became bright and I understood. He cast my sins into the salt ocean, and making me as his disciple took me into the boat of virtue. He grasped my rudder firmly,*? and I reached the landing place on the far bank. If a man hath such a steersman,? he graspeth him and bringeth to the other side. He is a protector, and one who succoureth in time of trouble, and, where (the water) is fathomless, there giveth he his hand.
His family title way Jahangir, pure like the moon. He was the Holy Master of the World, and I am the slave of his house.
19. In his house was a spotless jewel, Haji Shaikh by name, fulfilled with good fortune. In his house were two bright lights, whom God created to show the way. Shaikh Mubarak glorious as a full moon, and Shaikh Kamal spotless in the world. Both were stedfast, unmoveable like pole-stars, exalted even above Méru and Kukhanda.* God gave them beauty and glory, and made them pillars of the world. On these two pillars supported He the earth, and under their weight the universe remained firm. Whoever saw them and reverently touched their feet, his sins were lost and his body be- came pure.
O Muhammad, there is the road secure, where a saintly teacher beareth company. O my soul, when he hath a boat and a rower, a man quickly gaineth the other side.
20. Muhiu-d-din was my preceptor, my steersman, and I served him. He crosseth speedily who hath him upon the ferry. Before him was Shaikh Burhan, who brought him on the path and gave him knowledge. His spiri- tual euide was the good Alhadad, who in the world was a light and beauteous in the faith. He was a disciple of Saiyad Muhammad and even perfected men enjoyed® his fellowship. To him did Daniyal point out the path,— Daniyal, who consorted with Hazrat Khwaja Khizr.° The Hazrat Khwaja was pleas-
1 Saiyad Ashraf was one of the founders of the line of spiritual preceptors, whose representative in the first half of the 16th century (Mubhiu-d-din) taught the poet. For full particulars see note to stanza 20. ।
2 This is a difficult passage. MKavrid is the same as hadi, an iron ring, or a beam, hence a rudder. Hither meaning will do here. Other MSS., and printed editions have unha mora kara bidata kai gahé, he grasped my hand as I was sinking. Pédhi kui means ‘firmly.’
8 Kanahara or kanadhdra 18 the Sanskrit karnadhdara.
+ See line 1 of the second stanza.
6 Tat. sported in his company.
6 Khwaja Khizr, the Green Prophet, is a well-known figure in Mahammadan legends. He hag been identified by some with Elijah and by others with St. George. Ile is said to be still living, and sometimes aids travellers who have lost their way. As atated in the note to xiii, 5, he conducted Alexander the Great to the Land of Darkness, when the latter was searching for the Water of Life. He usnally appears on horseback, dressed in green (hence his name). In India he is looked upon as a saint not only by Musalmana but also by Hindis. Lal Bégi Mrhtars pay him divine reverence, Their first pir is Jesus, the Lord of the Wand, their second Khwaja Khizr, the Master of the Water-cup, their third Muhammad, the Great Interceder, and their fourth Lal Bég, the man of the Wild- flowing Tresses (see Greeven, Knights of the Broom, 45). Temple’s Legends of the Punjab are full of references to him. He 28; in India more especially a water-god, or the god of the Flood. Under his special protection 18 the well at Safidam in the Jind state, which contains the Water of Life. Mugalman traditions make him out to have been a true believer in the Islam of his day and to have been Wazir of Kai Quhad (6th contnry
PADUMAWATI. il
ed with him, and brought him (asa disciple) to Saiyad Raji Hamid Shah. From him (Muhiu-d-din) did I win all my (good) deeds. My tongue was loosened, 1४ and, a poet, (I learned to) tell my tale.'8
He was my master and I his disciple, evermore do I bow before him as his slave. Through him did I obtain a sight of the Creator.
B. C.), the founder of the second or Kayanian dynasty of the kings of Persia, and ninth in ascent before the Darius, who was conquered by Alexander. In the text, all that is meant is that Khwaja Khizr appeared to Daniyal, and performed his customary office of guide.
19 Lit. uncovered.
18 The following account of Malik Muhammad’s spiritual ancestors is taken partly from what the poet himself tells us, and partly from the Urdu gloss and other sources
He belonged to the Cishtiya Nizamiya, that is to say he belonged to the spiritual descent which took its name from the celebrated Nizimu-d-din Auliya, the teacher of Amir Khusrd, who died about 1325 A.D. His disciple was Siraju-d-din, whose disciple was Shaikh ‘Alau-I-haqq. ‘Alau-l-haqq’s son and disciple Shaikh Nur Qutb ‘Alam, the date of whose death is usually given as 1444 A.D. Chronologists, however, vary as to this; some say A. प. 808, i.e, A.D. 1405, others A. H. 813, 1.९. A. D. 1410, others A. H. 818, ४.९., A.D. 1415, others A. H. 848, ९.९., A. D. 1444, and others again A. H. 851, १,९., A. D. 1447. Mr. Beveridge in J. A. 3. B. lxiv, Pt. I, 207, considers A. TH. 818, A. D. 1415, as the true date. THe lived at Pandua in Maldah, and another disciple was Saiyad Ashraf Jahangir (see 18,1.) Ashraf’s most famous disciple was Shaikh Haji, whose disciples were Shaikh Mubarak, and Shaikh Kamal. Shaikh Nur Qutb ‘Alam and Saiyad Ashraf Jahangir were fellow disciples (pir bha@z) and from them eighth in descent came Malik Muhammad (71. 1540 A.D.)
The full genealogical table is as follows :— Nizamu-d-din (d. 1825 A.D.) ee a Shaikh (0
Shaikh Nur Qutb ‘Alam of Pandua, and Saiyad Ashraf Jahangir (vide xviii, 1), (son of preceding.)
Shaikh Hashamu-d-din of Manikpur. Shaikh Haji. | | Saiyad Raji Hamid Shah. Shaikh Mubarak and | Shaikh Daniyal (d. 1486 A. D.). Shaikh Kami.
Saiyad Muhammad.
Shaikh Alhadad.
Shaikh Burhan.
Saiyad (1 (vide xx, 1).
Malik व (1540 ^. D.)
From this it follows that the poet was not an actual disciple of Saiyad Ashraf Jahingir, as might be assumed from xviii, 1 and ff. Malik Muhammad merely refers to him and praises him as his spiritual ancestor. <A tradition makes him the poet’s mantra- guru, while Mubin-d-din was his vidyd-guru, i.e, the one initiated him, and the other taught him, which agrees with Malik Muhammad's own langnage. Shaikh Dariyal, the fifth in the line before the poct, appears to have claimed to have had for a friend Khwaja Khizr, who introduced him to his preceptor, Saiyad Raji Hamid Shah. Shaikh Burhan, Malik Muhammad’s spiritual grandfather resided at Kalpiin Bundél’khand, and is said to have died at 100 years of age in A.H. 970, or A. D. 1562-68. See Rep. Arch. Sur, Ind. xxi, 131.
12 | PADUMAWATI.
21. Muhammad was skilful, though he had but one eye,! and every poet who heard him was entranced. Even as God created the moon for the universe, so He put a dark spot upon her, while He made her bright. With that one eye the poet saw the whole world,? shining bright like Venus brilliant among the other stars. Until there come black spots upon a mango-fruit, it hath 120 fragrant scent. God made the water of the ocean salt, but nevertheless He made it immeasurably boundless. Mount Méra was destroyed by the trident, and then it became a mountain of gold,* and reached to heaven. Tull black firestains defile the crucible (the ore) remain- eth unsmelted, and becometh not pure gold. |
The poet hath but one eye, but it is (bright) as a mirror, and that mirror’s nature is pure. (Though he is uncomely), all that are beautiful clasp his feet, and with desire look upon his face.
As the prophet Muhammad (see xii, 1) had four friends, so also had the poet Malik Muhammad. 6 tells us their names were Malik Yisuf, Salar Khadim, Miya Saléné and Shaikn Badé. Concerning these, see the introduction to this edition, and xxii, 1 and ff.
The Urdu gloss concludes (we insert dates and other particulars in parentheses),
Those who consider that Hazrat ‘Abdu-l-Qadir Jilani (b. 1078, १. 1166) (God’s mercy be upon him) is descended from Saiyad Muhin-d-din, and that Saiyad Raja Qattal (d. 1403) is descended from Saiyad Raji, are far from being in the right. It is clear that the line of Qadariyas is descended from Hazrat ‘Abdu-l-Qadir Jilini. His preceptor was Hazrat Abu Saiyad.
‘Saiyad Raju Qattal was full brother of Hazrat Saiyad Jalalu-d-din of Bukhara (who was known as Makhdum Jahaniyan Jahan (Gasht Shaikh Jalal), and was his disciple). He was a Suharwardiya by sect.
‘Another disciple of Hazrat Nizamu-d-din (the founder of Malik Muhammad’s line) was Shaikh Ruknu-d-din Abu-l-fath Ma’asir (१. 1310), who was also disciple of his own father Shaikh Sadru-d-din (‘Arif, १. 1809). This last was disciple of his father Shaikh Bahau-d-din Zikariya (d. 1266) of Mul’tan, who was disciple of Shaikh Shahiabu-d-din (Suharwardiya, d. 1234), who travelled from city to city as missionary (peace be upon him).’
Makhdam Jahaniyan was a disciple of Ruknu-d-din abovementioned. The Suhar- wardiyas form a branch of the followers of the ¢7fz sect, and are named from Suharward, a town near Bagdad, the birth place of the founder Shahabu-d-din above mentioned.
1 According to tradition this was the result of an attack of small-pox, which not only destroyed the sight of one eye, but dreadfully disfigured ‘his features. It is’ said that some Raja once saw him, and loudly scoffed at his ugly face, not knowing who he was. Thereupon the poet said, ‘scoffest thou at me, or at the Potter who fashioned me?’ Struck by his reply, the Raja repented, and became his disciple. The poet still, however thanks God for all His mercies, and points out that every great and good thing in N some detraction.
2 That is to say other folk with two eyes can see but a short way, but the poet’ eye ‘in a fine frenzy rolling, can glance from heav’n to earth and earth to heav'n.’
8 Cukra, the regent of the planet Venns, had but one eye. He lost it this way. He was guru of the demon Bali, who gave Visnu, in his dwarf-incarnation, the famous three and a half steps of groand, CGukra, to prevent the success of Visnu’s stratagem, came and hid in a water-vessel. When, at the time of making the formal gift, water refused to flow from the vessel, Visnu, under pretence of clearing out the spout with a stick, pierced Cukra’s right eye.
ature has
s single
५ According to tradition, mountains had once wings, and used to fly about. When they alighted after flight, they used to crush people under their weight, so Indra cut off their wings with his thunderbolts. The first to suffer amputation was Suméru. It was a mountain of gold (Visnu-purana, ii, 2). The post has substituted Civa’s trident (triczla) for Indra’s thunderbolt (vajra), This confusion between Civa and Indra ia constant throughout the poem.
22-24] PADUMAWATI. - 13
22. The Poet Muhammad! had four friends, and by gaining their friendship he raised himself to equality with them. One was Malik Yusuf, the learned and wise, who first of all knew the secret meaning of words. The next was Salar Khadim, the discreet, whose arms were ever raised either in (wielding) the sword or in (distributing) gifts. The third was Miya Salané, a lion amidst unsurpassed heroes, a fighter with the sword in the battle- field. The fourth was Shaikh 2208, famed as a sage. Yea, even sages thought themselves honoured by performing his commands.* All four were learned in the fourteen’ branches of knowledge, and God himself created their association (with the poet). Let a tree buf dwell near a sandal-grove, and let but the odour of the sandal permeate it, and, lo, it becometh sandal-wood itself.
Muhammad, when he had found these four friends, became of one, soul with them. "When he hath accomplished their companionship in this world, how can they be separated in the next P |
23. The city Jayas is a holy spot: there came the poet and told his lay. There humbly waited he upon Hindi scholars, and prayed them* to correct and mend the broken (metre) and arrangement (of his song). Iam a fol- lower of poets, and I go forward saying my say, and beating the drum with the drum-stick to proclaim it. My heart is a treasure-house, and it holdeth a store of precious stones. I made my tongue the key of my palate and opened it. I spake words,—jewels, and rubies; sweet, filled with the wine of love, and priceless. He who is wounded by the words of love,*— What is hunger or sleep or shade tohim? He changeth his appearance, and becometh a hermit, like a jewel covered and hidden in the dust.
O Muhammad, the body which love hath, hath neither blood nor flesh. Whoever seeth the face of such a man laugheth, but when the lover heareth the laughter tears come (into his eyes).7 |
24. It was the year 947 (of the Hijra), when the poet began to tell this tale in words. Of Ceylon and Queen Padmavati, whom Ratna-séna brought to Citaur castle; of ‘Alau-d-din, the Sultén of Delhi, and how Raghava-caitanya told him of her. How the Emperor heard, and besieged the castle, and how there arose the war between the Hindiis and the
1 So also had the Prophet Muhammad, see 12,1. Regarding these four men, see introductory remarks.
3 Adésa also means the initiation of a céla, or disciple, by a guru, or spiritual preceptor.
8 The 4 Védas, the 6 Védangas, the Puranas, the Mimamsa, the Nyaya, and Dharma.
4 Bhaja or Bhaja, is equivalent to bhrajd, +.e., prakagita hig, ‘made manifest;’ hence ‘presented’ a potition.
5 70402 isa drum-stick. The poet means that he is impelled to publish his lay by beat of drum, so to speak, ४.९. as loudly as possible, in order that other poets and learned men may hear it, and correct his mistakes. A simpler rendering is obtained by amending the text to kichu kaht calata béla dei 792, ‘saying my say, I progress, setting down the feet of language;’ in which language is metaphorically compared to a foot, or step (एव्म).
6 Here we have the first instance of the poet’s use of the word biraha. He uses it to mean love, especially unhappy love. In countless places it cannot possibly have the usual meaning of ‘separation from a beloved one.’ Ghayd is translated in the Urdi Gloss
by (€ ‘full of.’ We can find no authority for this.
1 The worldly imagine the distraught lover to be mad, and laugh at him. He, on the other hand, knowing that no jewel isso precious as the love which he has conceived, weeps at their madness. ‘
8 1540 A. D.
4
14 PADUMAWATI. [24-25
Musalmans. From beginning to end, just as the story runs, so wrote he it in the language of the people, and told it in verse. The poet, the bard,} and the lotus full of nectar, are near to what is far and far from what is near. That which is near is yet far, like the flower and the thorn (so near and yet so different), and that which is far is near, like sugar and the ants (who dwell so far from it, yet find it out). |
So the bee? cometh from the (distant) forest, and findeth the odour of the lotus-nectar, while the frog ne’er findeth the odour, though he dwelleth ‘(in the pond) close-to (the flower).
॥ +
CANTO IL. SIMHALA.
25. Now sing I the tale of Simhala-dvipa,3 and tell of the Perfect Woman.* My description is like an excellent mirror, in which each form 18 seen as it really is. Happy is that land where the women are lights,® and where God created that (famous) Padmini (Padmavati). All people tell of seven lands, but none is fit to compare with Simhala. The Diyd-land® (or land of lamps) is pot so bright as it. The land of Saran7 cannot bear comparison with it. Isay that Jambi-land® is nowhere like it, and that Lanka-land cannot even fill (the excellence of) its reflection. The land of Kumbhasthala® fled to the forest (before it), but the land of
1 Kabi is one who makes poems, bidsa (vyd&sa) is one who recites them.
£ I.e., a prophet has no honour in his own country. The author means that he is aware that his own country-folk, and his own people (the Musalmans) will not care for his poem, for it is in a Hindi dialect and not in Urdii; but, on the other hand men of distant lands and of other religions (the Hindis) will be attracted by it, as the bee is attracted by the distant lotus. There is a tradition that Malik Muhammad commenced the composition of the poem in his own village, where it was not thought much of. One of his disciples wandered to Jayas and began to sing there the particular canto (Nagmati’s song of the twelve months), which he had heen taught. The Raja of Jayas was 80 pleased with what he heard, especially with the ddhé commencing kawdla jo bigasata maonasara, binu jala gaeu sukhai, that he invited Malik Muhammad to his city, and encouraged him to complete the work. ,
3 Ceylon. The word क्कू means both island and continent.
* A Padmini is one of the four classes of women and is supremely the best. The Singhalese women are all supposed to be Padminis, omne ignotum pro mirifico.
6 Here there is a pun on the word (d?pa =dvipa), a continent or island, and dipaka, a light.
6 The poet now proceeds to compare Simhala, not with the seven continents of tradi- tion, referred to in Jine 4, and catalogued in the note to stanza i, 5, but with half-a-dozen imaginary continents named after parts of the human body. Diyd-dipa, the land of lights, meane the land of fair women’s eyes. Sarana-dipa (sravana-dipa) means the land of their ears. Jumbid-dipa, Rose-apple-land, is the land of their raven hair, to which the black rose- apple is often compared. Layka-dipa, is the land of waists. Kwmbha-sthala, jar land, 18 the land of their rounded breasts; a. ए. 1. is gabha-sthala (garbha-sathala) the land of wombs ; and finally mahu-sthala (madhu-sthala), is the land of secret parts. Under thie highly figurative language the poet signifies that the women of Simhala surpassed all these imaginary lands, each in its own peculiar excellence. |
7 The poet does not seem to be aware that Sarana-dipa (Saran-dip, Serendib) is actually Ceylon itself. Here, as pointed out above, the words also mean ‘éar-land.’
8 Hindistan, or bosom-land. |
9 Or perhaps Gablasthala, one of the nine divisions of Bharata-varsa (India); here used 88 equivalent to garbha-sthala, the land of wombs. The forest whither the bosoms’ fled is, of course, the necklaces, bodices, &c., under which they lay concealed.
— 25-28] | | PADUMAWATI. 15
Mahusthala! had destroyed mankind (and how therefore can I compare it with Simhala-dvipa) |
` In the whole universe, in the world are seven lands, but none of them is excellent beside the land of Simhala.
26. Gandharva-séna was a fragrant? prince, He was its king, and that was his dominion. I have heard of King Ravana in Lanka;* greater even than his was his majesty. Fifty-six times ten millions formed his battle-array, and over all were princes and commanders of forts. Sixteen thousand horses were in his stalls, black-eared and gallant steeds.4 Seven thousand Singhalese elephants had he, each like the migltty Airavata® of Kailasa. He is called the crown of lords of steeds, and with his goad he causeth to bow low the elephants of lords of elephants. Over lords of men I call him asecond Indra, and in the world I also call him the Indra’? of the lords of earth.
So universal’ a monarch was he, that all the earth feared him. All men came and howed their heads before him, no one dared to emulate him.
27, When aman approacheth this land, ’tis as though he approacheth Kailasa the mount of heaven. Dense mango-groves lie on every side, rising from the earth to the very sky. Hach tall tree exhaleth the odours of mount Malaya,® and the shade covereth the world as though it were the night. The shade is pleasant with its Malaya-breeze; e’en in the fiery month of Jyéstha!© ’tis cool amidst it. It is as though night cometh from that shade, and as though from it cometh the greenness of the sky.!! When the way- farer cometh thither, suffering from the heat, he forgetteth his trouble in his blissful rest, and whoso hath found this perfect shade, returneth ne’er again. to bear the sun-rays. |
So many and so dense are these groves, that I cannot tell their end The whole six seasons of the year !* do they flower and fruit, as though it were always spring
28. The pleasant thick mango groves.bear fruit, and the more fruit they bear, the more (humbly) do the trees bow their heads. On the
1 Or Méwasthila.
8. There is here an alliteration between Gandharva, and Gandha, scent. Some of the MSS. bave Séni for Séna throughout the poem. This would lead one to restore the word to the Sanskrit Sainya, or Cyéna (श्येन = A hawk, used like Simha) were there not a strong
tradition in favour of Séna.
3 The identification of Lanka with Ceylon is a very modern idea, €. g., Varaha-mihira, Brhat-samhitd, xiv, 11, 15, mentions Lanka and Simhala as different countries.
4 Cyaéma-karna, black-eared, is a technical ‘name for a horse. It is the kind used in gacrifices. Tukhéra means ‘horse.’
£ The name of Indra’s elephant.
6 Giva’s heaven. Here taken for Indra’s heaven, Indra-puri.
7 Here Indra is referred to in two aspects. First he is the mighty king of the lower gods, and hence supreme over lor ds of men; and secondly he is the storm-god givin refreshing showers to the earth, and hence an object of worship to everyone who lives by cultivation
8 Cakkawat= Cakravartt.
9 The Western Ghauts (ghats), famous for their growth of sandal trees.
10 The hottest month in the year, May-June, with its pitiless burning blue-grey sky.
lL This is an example of the rhetorical figure utpréksd, or Poetical Fancy, with the word expressing comparison omitted. The poet fancifully states that this shade is so dark, that from it is produced all night, while the green shade of the sky is its reflection.
19 Hindus divide the year into six seasons of two months each.
16 PADUMAWATI. | [28-30 `
main branches and trunks! of the jack trees, the jack fruit ripen, and fair appeareth the barhal* to him who looketh, The khirni® ripeneth, sweet as molasses, and the black wild plum,* like black bees (among its leaves). Cocoanuts ripen and ripeneth the khurhur;® they ripen as though the orchards were in Indra’s heaven. From the Mahua® doth such sweetness exude, that honey is its flavour, and flowers its scent; and in these princes’ gardens are other fruits, good to eat whose names I know not. They all appear with nectar-like branches, and he who once tasteth them remaineth ever longing for more. 3
Areca? and nutmeg, all fruits, are produced there luxuriantly. On every side are thick groves of tamarinds, of palmyras, and of date-palms.
29. There dwell the birds, singing in many tongues, and sporting joyfully as they look upon these nectar-branches. At dawn the honey- suckers are fragrant, and the turtle-dove cries out ‘ ’tis thou and only thou.’® The emerald-parroquets? sportively rejoice, and the rock-pigeons ery kurkur, and fly about. The hawk-cuckoo!® crieth for its beloved, and the skulking warbler shouteth, taht khi. Kuhii kuhti ever crieth the cuckoo, while the king-crow!! speaketh in many tongues. ‘Tyre, tyre’ crieth the milkmaid- bird, 19 while the green pigeon!® plaintively telleth its tale of woe. The pea- cock’s cry kit kui soundeth sweet to the ear, and loudly caw the crows.
Filling the orchards, sitteth every bird that hath a name, and each praiseth the Creator in his own tongue.
30. At every step one cometh upon a well or reservoir,!* adorned with seats and steps. Many are the springs scattered about, one named after every holy place of pilgrimage. Around them are built convents and temples, where devotees sit in austerity and mutter prayer. Here are great 88108, 19 Sannydsins, devotees of Rama, and Masavasins; Mahégvaras,
1 The jack fruit growg only on the stems and main branches of the trees,. not on the younger shoots. । .
ॐ Artocarpus lakoocha, Roxb., A sweet-acid fruit, yellowish red and nearly round.
8 Mimusops hexandra, Roxb.
4 Hugenia jambolana, L.
6 Ficus cunia, Ham.
6 Bassia lutifolia, Roxb.
1 Gud and supéri are varieties of the areca or betel nut.
8 Its cry is éka-t ti-hi, ‘ one alone, only thou.’
9 The sdrau is a bright green parroquet.
10 The Papiha or Hawk-cuckoo, (Hierococcya varius, Vahl) is not a sparrow-hawk as the dictionaries say. Its cry is piu piu, ‘beloved, beloved.’ The ordinary native tradition is . that it says pi kahd ‘ where is my beloved.’ It is the ‘ Brain-fever bird’ of Anglo-Indians.
11 The Bhrygaka or Racket-tailed Drongo (Dissemurus paradiseus, L.), is not > sparrow- hawk, as the dictionaries say. It is a sort of king-crow, it is an excellent talking-bird.
19 The mahari is said to be a bird like the mahokhd (cuculus costaneus, Roxb.), but smaller. Its cry is dahi, duhi, ‘tyre, tyre,’ and hence it is also known as gwalin? or ahirini i.e. milkmaid.
18 The cry of the haril or green pigeon (crocopus phenicopterus, Latham) is ha hari gai ‘aJas I have 1086. It lives in the various fig trees of India. It is said never to rest on the ` ground. When it descends to drink, it sucks up water, from a short distance aloft, through a straw. When it dies, itfalls to the ground with its feet in the air, rather than allow them to touch earth.
14 A déwari is a large masonry well with steps leading down to the water.
16 Many of the sects mentioned ia this list are described in Wilson’s Religious Sects of the Hindas. The Commentary also gives a full account of them. Sannyasins (W. p 32)- consider themselyes dead to the world and go through a funeral ceremony in their life
30-31] PADUMAWATI. 17
Jangamas, Yatins, worshippers of the left-hand and of the right-hand Dévi. There are Brahmacarins, and there are Digambaras to whom it seemeth good to go naked. There are Savtas, Siddhus, Yogins, and Pessimists seated on the path of hopelessness.
Sévaras, and the like, Vana-prasthas, Siddhi-sadhakas, are all seated there, mortifying their earthly frames.
31. What can be compared to the water of the Manasarddaka lake, full as the sea and as unfathomless? Its water clear as spotless pearls, like ambrosia scented with camphor. From the isle of Lagka have they brought the lapis lazuli,! and with it built the landing stages. On each side have been made
time. They lay aside the brahmanical cord and carry a staff (danda) which they never lay upon the ground, and which they consider as a witness of all their actions. They are hence also called Dandins (W. 143, 191). Rédma-yatins are Vaisnava mendicants, who worship Rama, like the Vairagins of Ayvédhya. Mésa-vasins, are those who abide for a month in one place, and then wander on. Mdéhésvaras are mendicants who cover themselves with ashes, and adopt the traditional appearance of CGiva, whom they worship. Jaygamas (W. 219) are ever on the move. They usually worship Vira-bhadra, who destroyed Daksa’s famous sacrifice. This legend is a favourite subject of sculpture at Elephanta and Hllora, As regards Yatins see W. 317., They are Jains who have taken orders. Dévi is the object of worship of the vama, or left-hand Caktas,and Sati of the daksina or right hand ones. See W. 240, 254, 250. A Brahmacdérin isa religious student, living under the supervision df his spiritual preceptor (W. 237). Digambaras are naked vagrants, such as Paramahamsas, Nagés and the like. Some Vaisnava sects call themselves Digam- baras, but wear white clothes. Jainas are divided into Digambaras (naked) and (1८211 - baras (white-dressed) (W. p. 276). Santas are merely religious people generally. Siddhas are Yogins who have arrived at supreme perfection (adepts). They have eight supernatural powers (stddhv), viz., anima, the power of becoming infinitely small, mahiimdé, that of becoming infinitely great, laghima@, of becoming infinitely light, garimd, of becoming infinitely heavy, prépti of reaching infinitely far, pr@kamya, of obtaining at once whatever is desired, 2¢atva, of infinite sovereignty, vacitva, of infinite power of subjection. Yodgins are Caiva mendicants claiming spiritual descent from Gd6raksa-natha. They claim the power of acquiring, even in life, entire command over elementary matter by means of certain ascetic practices (W. 205). An adept Yégin (or Jégi) is a Siddha above described. Readers of the poem will have much todo with ९6015, for king Ratna-séna and his followers become such. A Viydgin is a pessimist, soured by unhappy love. Viyéga, lit., dis-union, in this poem is specially used to mean the condition of a lover who is separated from his beloved. Sévaras (the word is a corruption of the Sanskrit Cabara) go about in troops, with matted hair, aud red-ochre-colonred garments. They call themselve Caivas. To mark their triumph over sensual desires, they affix an iron ring and chain to the male organ, which they also mutilate. Wilson (236) calls them Karé Liygins. They extort money by pretended miracles, such as wringing Ganges-water out of their dry matted hair. Khéwaras are a sub-variety of the Séwara’s They carry skulls. One of their tricks is to turn spirituous liquor into milk, and then to drink it. Another is to rub the palms of their apparently empty hands together, till they bring forth Wheat, Gram, and the like. The name is a fanciful one, derived from Séwara. A Vana-prastha is a Brahmana of the third order who has retired from domestic life to the forest. A Siddhi-sédhaka is the same as a Siddha. An Avadhiita ig a man who has shaken off restraint. Thus Rimananda called his Vaisnava disciples Avadhita, because they had shaken off the ties of caste and personal distinction. So Caiva mendicants, such as Paramahamsas who go about naked are Avadhitas. Mach of these ascetics is represented as mortifying his bhiatdtman or body considered a8 composed of grosser elements, into which it must ultimately be dissolv- ed. The five grosser elements are earth, water, fire, air and ether. Hence paiicatra, or the condition of being five, is used to mean death. By mortifying these elements, the soul acquires ultimate release from the round of transmigration
The lapis lazuli is the stone of Lanka. It is popularly supposed to be the conglo- morate ashes of that city after it was burnt by Rama, the gold spots in it being the relics of the ornaments which were burnt at the same time,
9
18 3 PADUMAWATI. (31-34
winding steps on which the folk ascend and descend on all sides. The lotuses bloom there beautiously scarlet, with their clusters of thousands upon thousands of petals.! The swans overturn the shells, from which pearls fall out, which they pick up and sport as they doso. Beautiful swim these golden birds, looking as it were statues cast in gold.
Above around lie the banks, with ambrosial fruit on every tree. He who hath but once seen the fairness of these lakes, loseth for aye both thirst and hunger.
32. The maidens come to draw the water, each in form and figure a Padmini. Their limbs are odorous of the lotus (padma), and the black bees hover round them as they come. Waisted like Honesses, and with eyes like lotuses,* swan-like in their motions, sweet-voiced as the cuckoo. In numbers they come, row upon row, charming the eye with varied gaits. Over their moon-faces shine their golden jars,® as, in joy and sport, they come and go. Struck, as it were by a dagger, by her coquettish eyes, is he on whom the glance of one of them is fallen. The black cloud of her hair falleth from her head to her feet, from behind which flasheth the lightning of her teeth.
Like images of the God of Love® ave these nymphs’? of matchless charm. If these water-maidens are so beauteous, how lovely must be their queen | । 33. To tell of the lakes and lakelets is more than I can do. So broad are they that vision cannot cross them. How many are the lilies that bloom there, like stars risenin the sky. The clouds come down to them, drink their water and ascend, while within the fish (carried up into the air) gleam like lightning. Happily with each other swim the feathered fowl upon the surface, white are they and yellow, and red of varied hue. There sport the ruddy goose and his mate, whose lot it is to wake the night apart, and meeb by day. There joyfully sporteth tbe Indian crane, (re- membering that, not like the ruddy goose) he liveth and dieth in the com- pany (of his spouse).® There are the lotus, the gold crane,! the stork, and the (247, 11 and countless fishes piercing the waves.
There, in those lakes, lie priceless jewels, shining, e’en by day, like lamps; and he who diveth therein, findeth the pearl-oyster.
34. On every side are ambrosial gardens, filled with perfect fruit, and carefully watched. There are the fresh coloured lime and the pretty orange-citron, the almond, and figs of various kinds. Elephant lemons
1 The excellence of a lotus depends on the number of its petals.
The Golden Swan.
$ The best of the four classes of women. The Padmini, Citrini, Caykhini and Hastinz In a later portion of the poem, Raghava-caitanya, describes them to ‘ Alau-d-din
£ Saraga is like Mark Twain’s zug. It may mean almost anything. Jere it means a lotus or a deer.
5 The sun is often compared to a golden jar.
9 Maina= Madana= Kama-déva.
7 Achari=apsaras,
8 The fable about the cak’wa aud cakaz ig one of the commonplaces of Indian poetry.
3 The legend is that a pair of these birds cannot bear to be separated. If ono dies, the other dies also
10 A fish-eating bird which I have not identified. Itisthe Ardea sibirica, the same as the sdras above translated by Indian crane +
ll Not identified. It is a fish-eating bird. 12 Or perhaps nau-raga may be for narayg? orange.
34-36 | PADUMAWATI. 19
and citrons are ever ripe, and the glowing oranges are full of juice. Raisins! and apples with fresh leaves, pomegranates and vines delight the sight. Pleasant appeareth the Indian gooseberry, and the clusters of plantains are humbly bent (by their excessive weight). There fruit the mulberry, the averrhoa, and the red currant, the corinda, the jujube and the cirédnji-nut.? There is the sorrel,? and the date, and other edible fruits both sweet and sour.
They lead the water from.the wells through irrigation channels with mavuy a dam,* and with the pulleys of the Persian wheel, water they the black currants.
35. Again, all around are flower-gardens, with trees imbued with sandal- odour. There bloometh the ghana-valli,® with its many blossoms, the fragrant screw-pine, the fragrant yellow-flowered campaka,® and the Indian and Arabian jasmines.7 Beauteous are the basils, the kudums,* and the kuja-roses,® and scented are the Abelias, which only king Gandharva offered at the time of worship. The rose-chesnut, the marigold, the jasmine and the weeping- nyctanthes are in these gardens. The oleaster and the dog-rose bloom, the rapa-mafijari,!! and the clove-scented aganosma.!* There do men plant bunches!’ of the Spanish and of the Indian jasmine, and the flowers of the roseapple lend their charm. The maulasiri!* creeper and the citron, all these bloom in varied hues
Blessed and fortunate is the man whose head is crowned with these flowers Fragrant do they ever remain, like spring and its (fragrant) festival.
36. Whena man seeth Simhala’s city, and how it is inhabited, he crieth ‘Blessed is the king whose kingdom is so fair. High are the gates, high are the palaces, high as 15811858, 18 the abode of Indra. In every house each one, great:or small, is happy, each one appeareth with a smiling face. They build their sitting platforms with sandal, and plaster them with aloes, méda!® and saffron. Hach pavilion hath its pillars of sandal, and therein sitteth, reclining, a lord with his councillors. Fair is the sight, as a council of the gods, as though a man gazed on the city of Indra. All the councillors are experient, wise, and learned, and all the words they utter are in the Sanskrit tongue
Fairies build the roads, so that the city is bright as the heaven of Civ and in every house are fair Padminis, whose beauty enchanteth the vision.
1 The poet does not seem to be aware that raisins are dried grapes.
2 Buchanania latifolia, Roxb. Its kernels are eaten like almonds,
8 The Gaykha-drava.
4 See Bihar Peasant Life, § 919.
6 Tho dictionaries give Ghana-vallt as a synonym of Amrta-sava, The latter they say is‘a certain plant.’ Dy. G. King suggests that it is probably the Tinospora cordifolia, Miers. Its blossoms are small in size, but numerous, as the poet says.
6 Michelia champaca, L
7 Jasminum pubescens, Willd. (kunda), and the jasminum sambac, Ait. (caméli)
8 Anthocephalus cadamba, Miq.
9 Kijd is a kind of rose, Rosa Brunontana, Lind.
10 Abelia triflora, Br.
11 Not identified
12 Aganosma caryophyllata, Don.
18 Bakucé means a bundle ora bunch, and bakucanha is its obl. plu
19 ` Wimusops elengi, L
16 Again, Civa’s heaven is confused with Indra’s.
a A root like ginger,
20 PADUMAWATT, [87-39
37. Again I saw the markets of the city, all stocked with the pros- perity of the nine treasures.! The golden markets are plastered with saffron, where sit the great merchants of the isle of Simhala. They cast the silver and hammer out the ornaments, and carve out images in countless shapes. Gold and silver lie abundantly scattered about, and the house-doors are hung with glistening curtains. Jewels and gems,* rubies and pearls, set in the doors, give forth a fine sheen, and the shops are filled with camphor, scented khas grass, musk, sandal and wood of aloes. What gain would any market be to him who bought not here ?
Some there are who buy, and some who sell. Some come there and make a profit, some come there and lose their capital.
38. Again the mart of beauty*® is a prosperous place, where sit the painted courtezans,—their lips red with the betel leaf, and their forms hidden ’neath saffower-coloured veils. From their ears hang jewel-stud- ded earrings; with Inte in hand they entrance the very deer. Who heareth their songs becometh enchanted, nor can he move his feet. Their brows are bows, their eyes are skilful archers, and, sharpening them on the whetstones of their glances, they discharge their arrows. On their cheeks swing pen- dent curls as they smile, and men’s lives take they with each side look that they throw. The twin bosoms ’neath the bodice are two dice which they cast as it were upon the game-board,* as each, in her (wanton) nature, letteth her bosom-cloth slip aside. Many a gambler hath lost the game with them, and, wringing bis hand,> hath gone away with broken heart.
Magic use they to captivate the heart, so long as the purse-knot in the swain’s waistband is not untied. When once itis untied, beggared doth he wander forth and take the road, for no more do they recognize him or allow him to resort unto them.
39. There sit the flower-girls with flowers and their neatly arranged rows of betel unsurpassed. The perfume sellers sit with their goods, tying plenteous camphor and catechu.6 Here, are learned men reading holy books, and telling the people of the path of virtue. There, are others reciting stories, and elsewhere men dance and leap, Here, buffoons bring their sights, and there, puppet-showmen make their dolls to dance. Here, 1s the sweet sound of singing, and there, actors and magicians show their skill, Here some practise the lore of thags, and there (other villains) drug men, and drive them mad.
The nine mystic treasures of Kuvéra, the God of wealth. They are named Padma,
Mahépadma, Gaynkha, Makara, Kacchapa, Mukunda, Nanda Nila and Kharba, It is ०0४ at all clear what they are. They are possibly auriferous ores. See, however, Wilson’s translation of the Mégha-duta, note to ए, 5384
2 Paddratha, a gem, usually means, in this poem, a ruby (UJ) ) but here it is evidently used in its general sense
The Courtezans’ quarter. 4 Caupdr or sdra is a game very like backgammon. As in that game, 9 man by itself
ig a blot, and can be taken up by the opponent. When two men of the same player ome together on the same place, it is called juga, ४, ¢., the blot is covered, and the move
is a decidedly winning one. The gamo is played with dice as in backgammon. 8 When a gambler is bankrupt, it is etiquette for him to wring his handg to show that
they are empty 6 Khirauri are pills of catechu wrapped up with other spices in betel leaf for chewing
39-42. | । PADUMAWATI. , 21
` Agile thieves, knaves, robbers’ and pick-pockets all are there and dance their dance; and only the pockets of those escape, who are wide awake, and look ahead in this bazar.
40. And then a man approacheth Simhala’s fort; how can I describe what seemeth to reach to the sky? Below, it reacheth down to Vasuki’s 1 back; above, it gazeth upon Indra’s heaven. Surrounded is it by a deep and zigzag moat, so deep that no one dareth to peep (over its edge) or his limbs will tremble. Impassible, deeper than one can see, its very sight causeth fear. Who falleth therein, down down to the s¢ven Hells will he go. Nine crooked gate-ways hath the fort, and nine stories. Who climbeth the nine will approach (the limit of) the mundane egg. The golden bastions are studded with glass, and look like lightning filed with stars. That castle seemeth taller than that of Lanka, and. wearieth the sight and soul that gazeth on it,
The heart cannot containit. The sight cannot grasp it. It standeth upright like Mount Sumeru. How far can I describe its height? How far shall I tell of its circumference ?
41. The sun and moon (cannot go over it but) make a circuit round it, or else the steeds and their chariots would be broken into dust.* The nine gate- ways are fortified with adamant, anda thousand thousand foot soldiers sit at each. Five captains of the guard* go found their watch, and the gate- ways tremble at the trampling of their feet. At each gateway of the fort is a molten image of a lion, filling the hearts of kings with fear. With great ` ingenuity were these lions cast, in attitude as if roaring and about to leap upon thy head. Witb lolling tongue they lash their tails. Elephants are filled with terror at them, lest they should fall upon them witha roar. A staircase fashioned of gold and lapis-lazuli, leadeth up into the castle, which shineth ` above, up to the very sky
The nine stories, have nine portals, each with its adamantine gates Four days’ journey is it to the top, to him who climbeth honestly (without gainsay )
42. Above the nine portals is the tenth doorway, at which rine the hours of the royal water-clock®, There sit the watchers and count the hours, watch by wateh, each in hisawnturn. As the clock filleth he striketh the gong and ‘the hour, the hour,’ it calleth forth. As the blow falleth, it warneth the whole world. ‘Ye earthen vessels,’ it crieth, ‘why sleep ye void of care ?
1 King of the serpents, He lives in hell,
2 The universe, shaped like an egg.
8 In the preceding stanza, the poet has compared the fort with Sumérv, the central mountain peak round which the heavenly bodies revolve. He now carries the simile further
4 In the esoteric meaning of the poem, this city means the human body. The nine gates are the nine openings of the body, the mouth, the eyes, the ears, the nostrils, and the excretory organs. ‘The five guardians are the five vital airs, the prdya, the aix expired, | up wards, apdna, that expired downwards, samdéna, that which circulates round the navel and is essential for digestion, vydra, that which is diffused through the body, and udana that which rises up the throat and passes into the head. The adamantine gates are the bones, the warriors are the downy hairs of the body, and the King 18 the soul,
6 A kind of clepsydra. It is an empty bowl of a fixed weight and specific gravity, with a holo of a fixed size in its bottom. Itis set floating in a larger vessel, gradually fills, and sinks after the lapso of a ghar? or twenty-four minutes. A gong is then struck. On the expiry of each pakara (of eight ghayi) a chime (gayara) is rung.
22. PADUMAWATI. [ 42-45.
Ye are but soft clay, still mounted on the Potter’s wheel. Still whirl ye round (in the circle of existence) nor can ye remain steadfast. As the clock is fulfilled, your life diminisheth. Tell me, why sleepest thou secure, O wayfarerP Yea, watch by watch, the chimes ring forth, yet your hearts are careless, and no soul awakeneth.’
Saith Muhammad, Life is but the filling of water, as in a clock or ina Persian-wheel. The hour cometh, and life is filled. Then it is poured forth, and all man’s days are gone. * | :
43. In the fort are two rivers, the Nira and the Khira, each endless in its flow like unto (the store of) Draupadi.! Also there is a spring which is built of crushed pearls, whose water is nectar, and whose mud is camphor. Only the king drinketh its waters, which give him continual youth so long as he liveth. By it is a golden tree, like unto the wishing tree in Indra’s palace.# Deep down to hell go its roots, and up to heaven go its branches. So life-giving a tree, who can reach it? Who can taste it? Its leaves are hike the moon, and its flowers like the stars, so that by it is the whole city Ulumined. Some by austerities obtain its fruit, and eating it in old age obtain renewed youth. ॥
“Kings have made themselves beggars when they heard of its ambrosial delights. For he who hath obtained it becometh immortal, nor suffereth pain or disease. श |
44, Above the fort dwell only captains of castles, captains of horses, cap- tains of elephants, captains of land, captains of men. All their palaces are decked out with gold, and each is as aking in his own house. Handsome wealthy, and fortunate, their very portals are overlaid with philosophers’ stones. Hver enjoying happiness and magnificence? no one ever knoweth . "what is sorrow or care in his life. In every palace is there the game of caupar,* and there the princes sit and play upon the boards. They throw the dice, and fine is the game, each” without an equal in his sword and in his generosity. Bards sing of glorious deeds, and receive as their gift elephants and horses of Simbala.
In every palace is a garden, odorous of perfumes and of sandal. There night and day is it spring, through all the six seasons and through all the twelve months. oe
45. Again went I forward and saw the royal gateway; (so great a crowd surroundeth it that) a man might wander round and round and not find the door. At the gate are tied elephants of Simhala, standing up- right hke unto living mountains. Some of them are white or yellow or bay ; others sorrel or black as smoke. Of every hue are they, like clouds in the sky, and there they sit like pillars of that sky. My tale is of Simhali elephants of Simhala, each one mightier than the other. Mountains and hills can they thrust aside; trees do they root up, and shake, and thrust into
1 From their names we may assume that one flowed with water and the other with milk, According to the Mahabharata (Vana-p.. 3. 72-74). Draupadi, the wife of the five Pandavas was a model housewife. No matter how little she cooked, it was always exactly enough to satisfy her five husbands, and it was impossible to empty heg store room. As soon as she had eaten her meal, after her husbands, the store room was found empty for the time being.
2 Again Indra’s heaven, Amaravati, is confused with Civa’s.
2 Bhéga means pleasures of the senses, vildsa external magnificence.
4 See verse xxxvi, The board on which the game is played is called séra,
45-48. | PADUMAWATI. 23 their mouths. Must ones, wild with fury, bellow in their bonds, and night and day their drivers sit upon their shoulders.
The earth cannot bear their weight; as they put down their feet it trembleth. The shell of the mundane tortoise cracketh, the hood of the serpent of eternity is split, 1 as these elephants proceed. |
46. Again, there are fastened horses at the king’s gate, but how can [ tell the glory of their colours ? The paces of the iron-grey, the dun, are famous in the world. The bay with black points,? the jet,® and the dark-brown,* do I tell of. I tell of the sorrel, the dark bay,® the liver chestnut of many kinds, the strawberry roan, the white, and the yellow-maned® in rows. Spirited horses were they, fiery, and graceful; eagerly curveting, they rear without urging. Swifter than thought, shake they their reins, and snort and raise their heads to heaven. As they hear their riders’ voices they run upon the sea. Their feet sink not, and across they go. Stand still they cannot.; in rave champ they their bits; they lash their tails, and throw up their heads. =, | ।
Such appear the horses, like the charioteers of thought. In the twinkle of an eye do they arrive where their rider would have them go.”
47. I saw the royal-council seated there, and like Indra’s council did it seem. Blessed is the king who hath such a council, which is glorious like unto a blooming garden. 8 There sit the princes with diadems on their heads, 9 each with an army whose drums loudly sound. Comely is each with jewels shining on his brow, as he sitteth on the throne with sunshade o’er his head. Tis as though the lotuses of a lake have flowered, so entrancing is that council. Itis filled with fragrant odours of betel, of camphor. of méda ॥ and of musk. Throned on high, in the midst sitteth king Gandharva- séna.
His sunshade reacheth to the sky; and as he giveth forth heat lke the sun, the Iotuses of his council all do.bloom at the might of his countenance.
48. The king’s palace 18 mighty as Kailasa,}! of gold throughout from floor to roof. Seven stories high is it, only such a king could build it. The bricks are diainonds, and the mortar camphor; adorned with precious stones isit built up to heaven. Hach painted design that is there designed, is marked out with jewels of each kind of colour. Varied are the carving and the sculptures arranged in rows. Rubies shine along the pillars which, e’en
¢ e
1 It is on these that the universe is supported. The hdsul is a bay (kumét) with black fget. The dhawar or mushki is black. The kia@h is described as of the colour of the ripe fruit of the palmyra palm. The kurayg is the same as the 2171 kumét. The bulah (Skr. vollgha) is a horse with light yellow mane and tail. The names of these various kinds of horses has presented some difficulty. We have cousulted many kind friends, more experienced in the veterinary lore of England and India than woare. For the curious in such matters, we may refer to the Sanskrit book on Veterinary Surgery, the A¢gva-vaidyaka of Jayiditypa, quoted in the Commentary.
8 The poet alludes to the brilliant effect of the many-coloured garments of the
ao Ff € Ww
न न्द्
courtiers. 9 That is to say they did not venture to remove their head-dresses in the presence
of Gandharva-séna. They were great, but he was greater. . 10 Méda comes from the Népal Tarai. It isa well known fragrant medicament —a root of cooling properties. 11 Ciya’s heaven. Here probably, as usual, confused with Indra’s,
24 ‘PADUMAWATI. [48 -49.
by day, blaze like luminants. The very sun, moon and stars hide themselves before the glory of the palace. |
As we have heard tales of the seven heavens,! so were arranged the seven stories, each separately, one above the other.
49. JI would tell of the women’s quarter of the palace, like Kailasa 2 ‘filled with nymphs. Sixteen thousand queens, all 12871178, 8 are there, each more beauteoas than the other. Very lovely are they and very tender, living on betel and on, flowers. Above them all is Queen Campavati, the chief queen of exquisite loveliness. She sitteth upon her throne in all her grace, reverenced by all the queens. Ever varying in her moods and brilliant is she,—in her first prime, ५ without a rival. Chosen from all lands was she, amongst them all a perfect sun.§ |
Maidens with all the thirty-two ° points of excellence are there, and amongst them all is she matchless. Every one in Simhala telleth the tale of her beauty.
1 See ए. i, 5. :
2 Again, it 18 Indra’s heaven, not Giva’s which is filled with hoarig.
3 See v. xxv, p. 1.
+ According to Hindu rhetoricians heroines are of three kinds, the mugdhé or the Artless, the madhyd or the Adolescent, and the praudhd or pragalbhé, the Mature, perfect in form, and experient in all the arts of love. Campavatiwas a praudhd, `
6 The 12 kinds, refer to the twelve digits (kalé@) of the sun. She was the sun in all its twelve digits, १.८. complete. |
5 The thirty-two points of a woman will be found described in the commentary. Some of them will not bear translation into English.
CRITICAL NOTES.
1. 2, Kinhesi, so apparently Ib, which seems to vocalize the final (4. The word may, however, be also read kinhisa for kinhesa. The other copies in the Persian character simply have Cres , which which may be read either kinhest, kinhasa, or kinhasa. Is and K have kinheei for kinhesi. U has kinhasa. Throughout the poem a short e is inserted to form the past tense. Thus dékhasi, he sees; dékhesi, he saw. Ia tinhahi pritz kabilas#, Ibe parabata kabildsz, Id parabata kavrlast, Is téhi priti ka bilase#, U tiht parabata ka bildsté. In the Persian character my yy and (+ and 9०/५५ and ponds are easily confused. In each case it is a question of adot. There can be no doubt about the form ८८01125 for kailast being right. Theword is of frequent occurrence in the poem and is invariably spelt thus in the best MSS. It is a curious corruption, and has puzzled all copyists with Sanskrit predilections. 8. Ib has pawana agini, K agni pauna, Is bahutai, UK bahuté, P give noclue. 4. Is awatdri. |
8. Ia kinhesi sapata dipa ९१८१८712 कु
Ib 3) 32 loga ११ १८: . 9 sdta saraga >) id: +; (illegible) P séta péta mahi bhanda
Is kinhesi sata sata brahamanda (sic) U kinhasa séta saraga K 2117९5४ -
Two printed editions follow Ia, except having mahi instead of dipa, Ia is adopted as making the best sense. 6. Ib duniara, U dinakara, K dunia, Printed editions dinésa, 7. Is kinhesi sita ghéma. 8. Id kinhasi saba asa. Ias dusarahi, U dusarahu. 9. Ia ta kara natu, K karata kai naw lei, Ia katha kahad, Id ४&)।, 18 arigiht, printed editions and K uragahu. 9
2. 1. Sdta-u, so Ib, Ia U K have héma (U reverses the order of the two hemistichs), Is hiwa, Ic sa@ié with hémaasay.1l.on margin. Id séta (also Ram Jasan), 162 bawara; ०665 (Sanskrit किष्किन्ध for कुखण्ड) evidently puzzled the Nigari transoribers. Is has khanda khanda, U kinhasa parabata méru apdré. The P copies are undecided between khikhinda and khikhinda. The former is probably the correct reading. 2. K maécha, 8. U wahw एरका, K jehi bhdlé, niramdlé. 6. U rdhai, cthai, N udai. 7. U phila au, Id K aukhadha. 8. Ia gogana antaricha, Ic gagana antarikha, Ib khdbha, U lagai, rakhat. K nimikhi, karata tehi sabhai kinha chana éka, Ias have ohi, Ibcd U wahi.
8. The order of these sets of caupds is different in different copies. The above is the order of Iab U K, Icd begin 4, 3, and then go on as above. Is begins 15, 16, and then 3,4, &e., like Ia, 1. Icd dihest badd; Iac tehi pat, Id tehi Khai, Is tinha ja. 2. Ib bahwu ऽद lo tehi sayz. 3. 180 U K bilds#, U K kow for koi. 4. 1८8 U jehi hoi. 5. Ta transposes 11. Band 6. Is jiu sadé sukha, U jiyana sadé tinha K jiwa sadd saba, U kaa, 6. Id U kof, Is bahu dandui; Id dhand#, U K anandd, dandd& 7. U kou, Ia ati ghani, Id K punt ghdni, Is saga ghdni, U jz ghdni. 8. U kou for koi. 9. Iacd charahi, Is tinha chara, K bakuri kinha saba,
4. Icds bhiwaséni, U bhimasainiyé. 2, P mukha, which spoils the metre. 3. Id makes this line the sixth, Is amiya, Ibd jiuna jehi, Ibd वटर Iads U K pdé, khaé. 4. K karut nime jo phdri. 5. K ldwai jo mdkhi, Icd K bhawara pataga, Is bhawdara niga. 6. 19 K indura, Icd doubtful, Ibs N clearly undura, Iacd rahahi. 7. So Iacd K, Ibs kinhast rdkasa déwa daétd, kinhasi bhdkasa bhita parétd, U similar except , , , déwa dayanté bhata parantd. 9. Icd ह dihisa, Ib U sabahi.
5. 1. Ias U oht, K dhanaita hat jehi ké san°; Is U kd; P have ka; Iad sabai, J nahi ghafai. 8, K sabhanha, U kou. 4. Is puts verse 4 after verse 6, U paragati gupati, §
» aipa
> * ० ॐ
2 PADUMAWATI. [5-10
Ib khawawat, U apuni khat, K a@puna kha, P might also be read thus. 6. K whai, 19१8 sd kha’, Ic sabahi bhuguti dé aw jiané; Is K sabahi déi, U saba kaha déhi. 7. Ia sabahi so ta kari hérai asd | ohi na kahu, &. Is hari sdsa, ohi, U sabai, ta kara, sésd, ohi na kahu ki asa, K sabhai asa एद kari hari phéri | ohi nahi dsa ahai kehw kéri|| 8. Iac ghatata, UK ghatat, U wbhai, tasi. 9. Id jo déta, U K déhi, K sabha ta kara.
6. 1. Id adi éka baranat sd réja; K adi anddi karata jehi (पद्यु. 2. Ibed kardi, ddi Tacs K jehi, tehi. Ibced achata, Is chatrahi achata nachatrahi, U nichatriya, K chatra nichatra nichatrihi; K ddsara kéi na sarabari, 4, Is dékha, U ह dékhu, P give no clue a third person singular seems required by the sense, 18 7607, 2502, Is cithihi, Ib karahi. U sajogt. 5. 196 K trina, trinahi, U udha@, tinhai bajara ki déhi badha@i, K tori u(?a) dat, 6. लभ्यः bhikha bhikha dukha, Ia bhikha (?) bahuta, U dukha bhara, K -bhawna bhikha dukha bharag. 7. Ibs K karat so 06 mana cinta nu 1167, Ia karat so 76 mana cinté 167 ; K karat sot jo ohi mana hot. 8. U asthira (which makes the metre right), 198 U jehi, K tehi. 9. U aru bhajai, K tehi 2712.
7. 1. Id reverses the order of 1]. 1 and 2. U baranad sé, Ib saba ohi sad waha saba maha barata, K oha saba sé saba mé waha barata, Is has sad. 2. Is K jo saraba, U paragata guputi, Ia cinha na cinhata, Id cinha na cinhé. 3. Ia na oht saga, Id na kot saghdtd, U na kow saghata. 4. Ic na koi wahi jana, Is na waha koi jand, U na kow wé jand, K © ki sirajand. 5. las reverse order of ll. 5 and 6, K waha saba, Ib wahu na kinha, Is oha kinha, K wnha nakinha. 6. Ja hute so pahilahi s6 hai 367, Is au hat aba 567, K hutd pahilahi aba hai 56 Ic s6 punt rahat rahai na na koz, U 56 puni, K rahai rahihi nahi kot. 7. Ia auru jo hohi, U aura kahai 36, K aura je rahai se ba, Ia marahi kai, K marai kari. 8. U jd wai céhas, kinhasi, K jo oha céha so 0111452, Iak karah?, U karahi ju céhahi kinha. 9, Una kaz, Ic त sabat (द्वा, K sabhai oahahi, U jiya.
8. 1. Id cinha jo, K cétahu, Ib puréna mé, Is gidnd, bakhénd. 2. Icds jiu nahi, K jia naht or jia nahi, Ia kara naht pai sabahi karahi, Is karai sawdt, U kharahi samdi, K karai sahara@ (?). 3, Ia reverses the order of 11. 3 and 4, Ib jo doléwe so déla, Id jo doléwahi 2512. 4. Ic reverses the order of 11. 4and 5, Is has stnd, gina, Ia U hiya nahi, Id hiya nahi pai guna saba gina, U gunind. 5. 16 U K bhatiso ja. 6. Ib na kot ahi na ohi ké rapa, Ic om. this line. Ias om. hot, दं kow hat ohi, K na koi hoi hai ohi, Ia nd kaha asa ripa anipa, Id nd ohi ka asa taisa anipd, Is né@ oha kadhu asa taisa saripad, U né koa asa taisa 71210, K na oha {८112 asa riipa anipa ; possibly Ta fits in best with the rest of the passage. 7. K na binu ohi thai, le ritpa rétha nahi, K niraguna nai. 8. Ic K na hat mila na bichura, U né hai mila na wathard. 9. U andhi murakhi kaha diri, Ibid mara- khahv.
9. 1. Ic punt 70 dinhest ratana amulad, Is sabahi jo dinhesi, U dinhasi, K janahi Throughout, Is K have dinmhest and U denhasa, cf. I. 2,” 2. Is bihiis?, U bihasé, K dasana bihasi mukha 647, Iab loge for 050४. 4. Iac U jeht maha, U tihi mahd, Ic reverses the order of ll. 4 and 5. 5. 1808 56४ jana jehi dinhesi nahi, K 55 pat marama janat jehi nahi. 6. Id jdéna ho, Is gana hot, K j6bana marama na janai mitdhaé, Ia mild nahi tarundpa dhisdha, 16 saba dhudha, K cahai na tarundpé cahas dhidhda (sic), Is has ma#dhé and dhadhé, 7. Id sukha kara marama, this makes better sense, and is also the reading of Rim Jasan, K jehi ké dukha ए. 8. K bhégi raharanacinta. 9. Ib saba kara marama janu karaté, K,
ghata raha ninta. ।
10. 1. Ib karata ké karand, K karata kat karani, lad baram na koi 200८ 7 47८7022, Ic barani na paru (1४४ kaa barand, Is barani na kov 79 purai karand, U barani na jdt ahi bahu barand, K barani na kahu parar jo barani. 2. Ib saraga sata, la sata saraga kagada jai ka®, lo ८००८ hii, Is K jat kagada, Ic hat for bhavai, K dharati sata saraga ma’, U has karahi, bharahi. 3. Ic makes this line the sixth, Ib transposes 11. 3 and 4, Ib roma, U jaéwata késa roma au pakha. 4, Ia réha khéha, Icd U khéha réha duniyai, Ib bana, K nakhata tardi., 5. ए likhai sansard, [८ ati samit’, Is kabi ami, U bidhi carita apdrd, K kabi carita apari w5 is evidently a misreading of w 5, 6. Iacds éta guninha saba guna, U au saba guni- yana guna paragatd, K aba guna para’, Ib téhi samiida biudahi nahi ghdtd, Ia bunda, Id aba-hu samtida maha bunda na ghdté Is aba-hwu samida tehi bunda na ghdtd, U aba-hi biida samiida nahi 014८2, K as in text, except nira for bida. 7. K garaba na wthé, K garaba karai s6 baurajhitha. 8. Ib bahw guna*, U asa guna”, Iac 56 hot tehi, Ib cahai $© tinha hé béga, U उत hd tehi, K karat 56 caha tehi béga, Rim Jasan cahat sawarai béga. 9. Id jd guna karaht anéga, Is j6 gunw cahat, U karat na nega.
11-16] PADUMAWATI. 3
। 11. 1. Ia nat, U K néma; U ए 21707412, प्रक; Id pind U pénou, K puniu 2. Ia unha kai, Is tinha kaha, U joti tinha ki bidhi, K ta kara, Is tinha priti. 3. Iab U dipaka aisa, U bhd a(a)jora. 4 Ibed jad na hota asa purukha ujyarad. 5... ~ 1d néa, U that dat K thawa dad, Is Utkhé......stkhé, K lUtkha...stkhd. Ia parhaté, K bhaw dharam? bhau pandita stkhé. 6. Is 20 nahi, Ia ohi nai, K janama bhara. K dinha naraka maha. Icd transpose ll. 6 and 7, 7. Iaohikinhd. Ibds U kinhé...linhé. K utima basttha dinha oi kinhad, Ibs ह dui, Iced dd. Is U K juga; Id U K tarai nama. Icd ohi instead of Jat, Is UK unha 8. इ aiguna, Ia pichihi, U ho kai. 9. Tac ohi, Is U unha, Id binawata, EK unha ayé hama binaiba, Id karata.
12. 1. Ta caht dinha,Icd caht ké duht. 2. Ia taba ané, Ic wei 212, Is sidika daiya unha mané, Kuni ané, U dina oi jané. 3. Ibe U puni 76. Id puni tehi, Ila jaba aé, Ib oht aé, Is aa dé, K jinha jaga adaia dina kaha laé. 4. Ib एवाप व, Id bada pandita gini, U puni usi mahé bada pandita. Ia U K likhé kurdaa, The correction is evidently a scribe’s improvement. 5. Ia baridrd, K bala द द्यू, 188 satihi na ठ rahdé jujhdra (Is° rit). 7. K paraména. 8. K. kurdna for purdna,...s6i likha kari grantha. 9. Is té saha, K té sutht.
13. 1. U séra sdéha, K séra saha, U sulat@nd,........bhand, Ia cérihi, 16 cari-w. 2. Ib transposes 11. 1 and 2. Ib oht kaha cha&ja chatara au pédtd, Is chaja chdld au. U Ohi chatra sdju au, K ohi pai chaéja chatra au, Ia J K péatd...... lilata. Ib rajai, Ic sabha raja, Id sabha (or sabahi) ra@janha (or ra@jahi), Is K saba réjanha, U saba rajanw (?); 3. Ia K gunawanta, Icd sabahi, Ib bidht pure, Is nidhi purd. 4. Is १२८१७८६५ nawa khaduhu, KE 22144 nau kkadahi. The final word of the half line ८564 may be transcribed either bhai or bhaé. All N give the former, but printed editions give the latter. So also (5 may be either na? or naé, We prefer bha? and nai as giving the best sense. Iad satahi. U dipa dunia, Is dipa dunia sira. 6. Ibds taha lagi. Ia kharaga bala, Icds kh° para; Ia jala karana na kiaha (wy (~ WLS), Ib w J >> 1५५ ८१२५ 9५, U julikandhara kinha. 6. Ib déwai jabahi bhara mithi, U juga kaha jiwa dinha, (ह joga kaha jits linha gah mith. Ia puhum|| bhara sabu linha samhéri || Ghi sakai puhwmipati bhari || K puhumi bhara ohi éka sabhdrd a tau thira rahai sakala sansard || 9. la padashaha, 16 badashahdé, K tuha jaga para jagé tohara.
14. 1. Id 5 श्य. 2. Tahat ki rénu, Is har gat saina. U hat maimanti दष्क, Ia parabata phuti hoi sama dhirt. [0 uthaht hoi, Is parabata phuti, K tuti ghikaty. 3. Ia sara rainu hoi dinahi gardsé Ib parahi rainu, Is K raini rénu, Id omits this line. 3. K pan- chi. 4. Iac U K wpara hoi chdwai brahamandé. Ia délai dharat? au brahamanda, U nawa Kkhadi dharatt sakala brahamandé, K khandai dharatt bhau sata khanda. 5, Ia transposes this and the next line. U patdlahi jhdpd, 180 K patdrahi ghaépad. 6. Is bhar उव. 7. U ghara ए. K kharha kata. Ia pachai pard sd दद्व, Id kaha nahi, K kaha दत्य, nahi Ga. 8. Ia girt tariwara kahit na raha calata hota saba न्द. Id [तावं sd curv, Is saina calata girt tariwara hohi sabai sata ctira. U jo gadha naai na naai calata hohi téctra. K jo giri tarai na kahu té calata 1157 sabha céra. 9. Ias U K jaba-hi. Ta calai.
` 16. InIs this 18 No..3. Ch. 1. Iabsjasa prithimi hot. J jasu. K kasa hot. Icd cata. Is 2, K bata calata dukhawat nahi kot. 2. U ddila aha, K adila kaha. Ib sama sou. U st uni raha. K sari jija na tahd. 3. Iabadala jo kinha umara. Tab bhai ani, U sigari, K kiriand puhwmi jaha tdi. 4. U kow. Ib sina. Icd ma@nusa sat ujiard. 5. Is U gai siggha K gde séra. Is dua-w ( ? dta-u) pani, U कठा. K dunau pani 2. Ia chira, Ib K chanahi, Is chani, Ia hot कनेक, Ibed karai nirdrad. K pani sé karahi nindré. 7 Tb barihi, Ic waht same, Id balz dz-ht sama. Is dubare baria dua-u, U baria éka, K dibara bali €. 8. Icd saba prithimt dsisaz, Is sabar prithim? asisaz, U saba prathim? mili asisai, K sabhai prathimi asisa déi. Ia lai lai bhut matha, Io dui hatha Id kara hatha U jéra jora dou hatha, 9. ‘Ia gdga jamuna, bd gaygana jamuna, 168 9206 jauna jaw lahi jala. U gayza jamuni jala jaw lahi, K gaygd jauna jau lagi gala, Ib ammara ndtha, Is J ammara matha, U tau lagi, Id amara to matha. oh 16. In Isthisis No. 4 1. Ib त, (द Idsabahi, K muha. 2. U caudasi céda dai saward Iabo U dai, Is daiya. U K ta ht. Ic cahi adhika द. 3. K jai papa. Is papa ghatai jat, U K 25) P 05 orjau. U jagata juharai dé. 4 Ic K sabhai. 5. Ted purukha stra niramara, Is bha asa stra pu. U ast bhaye stra purakhi naramdlé (sic). K asa ohi sirva na&wa niramdlé Tbe daha. U kala. K ohi द्वा वद. 6. U héru. Ia jat jat dékha rahai, Tb 25 dékhai so raha, U jo dékhd so rahe lubhat, K jo dékhai 6 raha
4 PADUMAWATI. [16-22
sharuma. 7, 10 saba 10074. Ib surtpa. Other Ps doubtful, N 5002100. Is darapawanta. 9. Is K médani darasa lobhin?. U médina darasi lv’.
17. Here Is resumes the correct numbering. 1. Iabe U dai, Is daiwa, U daa त badi, asi dani. 2. Icd K transpose ahé and kahé. Icd U Bali au Bikrama dani, K Balt au Karna data bada. Is Hétama, U Hétuma, K Hétima. 3. U sara-pitji, Is K ghatai, U suméru एवकृत dot, 4. 1s daka dana. U dana dayka. Ia samiida kai, Ib U samundara para. 5. Ui kancana barasi stra kali. K kateana barisa séra kali. 6. Ia bdra eka maga. Other P y bira or biri. Tac janama na hii bhikha aw négé. U janama hoi nahi bhikhe ndgé. 7. 1008 jo kinha. U & dasi asiméda jagya gd. Ia tinha-hi surusari dana na dinhd. Ib dana punna sari tahu na dinhad, Id sari sathi. Is sé-u na U 86 uni cinha. K unha sabha ké dinhe. 8. U [र jagadpara. 9. U kow dai asi.
18. 1. Ia jeht (or jinha) mohi, Is tinha mohi, U ष्ट, P (exc. Ia) tinha or teh?. 2. Ta lésé-ht cka péma. Ibd U K préma, Is pirama ‘sic). Ib wahi jétt, U Ghi 06८0, Id bhai 56 061४ bhé ८ bhai niramala, K bhaw niramala. 8. Ib huta adhéra sé sitjhd, Ic huta jo adhéra asajh@, Id illegible, Is méraga hato adhidra so sitjha, so U but adhéra, K méraga andha héta sé stjha@. Ib bha wéra, Ie U jaga jana, Id pard stjha saba jand. 4. K rékhukar. 5. Nunhi, P ohi or unha. Ta (2% 455 , Ic kar?, Id ohi kara méré po’. Is poha kai, U paudhi kai, K unha mort kairthara (?) “pandhi kat gahi...... ghata jaha rahi. Ta jaha dha, U ghati. 6. Ib ja ké, Ic jé kara aisa héhi, [व U K द kara héhi aisa, In gah? béga let lawai para, Ib K turita bégi 36 wutarat, Is turita bégt so pawart. U turita ét lai ldwai. 8. Is ot cist?, K riupa jai se jaga cada. KK oi ati badé jagata maha. 16 hama unha. Ie unha kara.
19. 1. Id ohi or unha. Is U unha, K tinha, U K niramdla, 61415. Iad e ५ Ibe ०5५..७
ट
Ib so bhagai, Ie sabha guna, U sabai guna. K 54610. Is U tinha ghara. K tinha ké ghara dui dipa, Ic tijidrd, sawara, Is daiya 580०. K dad 50०, 8. Tad ee » Ibe ES Au, U ssékha
muhammada, Ia U K kala, niramdla. 4. Is khanda khanda. U khakhanda téhu, K, khikhida taht. 5. 18 khabha, U jaga ki ndi. 6. Ia दन्य, Is एल taba. U duht ke bhara sristi thira rdhi | déna-h& kara {लाघ saba mahi, K tau tehi bhdra jagata thira. 7 Is sinha darasyau au parasyau, K jinha darasé parasd unha pdyd. Is bhau, K ए. 8. EK nicinta rahwu. 9. <All copies insert karig before khéwaka, except U jehi ré ndwa hai kariyd, and K jehi ré nawa kariyga. The omission of either karia or khéwaka ig required by the metre but, except U and K, all copies have both. K bégi sé (4८८ tira.
20. 1. U mohi dai kh@. K guru mahiudi kaha eka mai séwé. Iad ja kara, U tinha kara, K jinha mohikhéwa, 2. K 205, lad ts Ibe 455. U badahéna% ; Ic U mohi dinha 3. UK tinha ké (07, Tad 39> ह, Ibe 965 ~ Ig K surukhwu rv, U surakhu rt. 4, Tas siddhanha purukhanha jehi saga khélé (Is has jyat), Ic jat ré siddha purukha saga khéla, K jinha siddhya purukhanha saga khéla. 5. U lagdé, K ddniara...... dekhalaé, 1 ० U jeht padé, K mana léé. All P give “pas, N khidira, 6. Ia U Kteht hay’. Is sé haj?. U ani mildé saiyada, K lau lagde let saidé rajé. 7. 1d 96 padi karant, N saba karani, P jibha para- ma (?) (ont), N katha, 8. tehi ghara ké@ had céla, Id tehi guru ka hat, K waha ré guru, U K hwat céra. 9. Ja ohi tai, U jehi tai, K dékhana.
21. 1. K kali, K kali pani. 3. Ids asa, K 4 stra. 4. UK &baédabha nahi. Ram Jasan’s edition gives basdyana s67 but all P give (5१ Coles 5. 12 taw suthi, Ib taw asa, Ic taha ati, ids tau ati kinha, K tuw waha, bhaeu. "6. Ias jat. 7. K 146४ hoi katicana ki keira, 8. U tasa niramala tehi bhiw. 9. K rupavanta bandwahi, Ia réipawanta gahi joahi, s6 karahi gaht pau. Vb mukha cahahi kai, J mukha cahai kat. K mukha dékhana ke cau,
22. 1. P yw U siru, K ora. 2. Ja yasufa mallika pandita gydni, Ib bahu gy@, Td bada gya@, K 76 pandita gy@. All Nhave isapha for yusupha. Inc K pahilahi, EK pahili 8. Tac walf, 1४ (+= &, 10 ८७ Is kandana. Ib khddahi, U ubhai, K uthai 16 047. 4, U apard, gujhard, Ia khéta au, K briga sttaraint (2) 76 kharaga joharu. 6, IJabe dis, Id aa Ib K bakheni, jan? (K mani), Iabd bada jénd. Is sddhunha. 6, Ia catura guna dasa wei, Ib K dasau guna, U (कठ catura au dasi guna (sic), Icd aw saya joga, K aw saha joga Is repeats the last line by a mistake of the copyist. Printed editions have simha jéga. 7. Ib jo répahi, U jo upajai. K purukha jo apé ( (~ for (5571). K jau bédhat basd, 8. Icd bha. 9. Ia satha nibéhad. U yaha jaga ora nibahd, 14 sadtha jewana 0/4 ( (6५) for lg Waa for (gs +>). Ia U bichurahi.
1 é
23-27] PADUMAWATT. 5
23. 1. Ibd tahawad bahu,Ic taha una kabitanha k?. Is tahé award, K tahé avian. 2. Ibs U au bv, Id binati kara. U kabitanha. K au pandita s6 binati bhdja lb bhakhé ... 32116, Is bhaja ... saja. Tad mérehu. Is meraehu. U ftali mirdi sawdrahu sdjé. K tutale sawéraba au merahai 5812. 8. N panditanha, U pachilagd ... 22. Is gai dagd K kichu kat cahau kathé kara dg@. 4. Iaj6 kachu piji, U hiyd bhaddra chi naga puji. Is khdlu, U lut ki’. Is tard ki. K khélau, talaaw 18०. 5. Is ए एता 6.2 K délaw ba°. Ia K péma rasa, Ids U péma mada. 6. Sola. Ib kaha tehi bhitkha kahG tehi kdyd, Ic kaha tehi riipa kaha kat 12४2, 1d kaha tehi bhitkha kahé tehi maya. Is ka tehi bkikha nida ka maya. UK kahd tehi riipa kaha tehi mayd 7. 19 ~ 7८ bhésa. 8. 10४2, so UK. It makes good sense. P .kabi 5 préma ka. Is kabi jo pirama kd एद tuna takata. 9. Ic sundto. Is sund ta.
24, 1. Jadhéd... kdha. K dh... kahi. All texts agree in giving the date (A. प.) as 947. Ram Jasan’s edition gives 927 which is certainly wrong. Ia-tzhi dina hdha. 2, sént, 80 18 इ. J has saina. 3. Ia suratdnd. Is dhilz sulitand, K का, cétani,so all N. 4. N have séha not sahi, which is the usual spelling elsewhere. 5. Is kathd काप. Ta katha jo ahi, K adi anta kathaé asi chi ...... kaki. U bhakh& mai caupa द, 6. Ic K bidsa 1454, Ia dari jo marahi niaré dirt, Ics dértht niara niara bha dirt, Id diarihi niara jo niarahi dir. U dari su niaré niaré dari. 7. Ids sdga ka’, U sama ka®. Ic K duri niara jaisai gura, Ids व? jo niaré 56 gura, U dirt so niaré jgasa. 8. 16 त K khanda tats Is khandahz. Id U kt basa, Is kai basa. Ib U p&wahi. 9. Ib 70 achat ohi 252, Id K sadd jo achat pasa. Is dchahi. । 25. 1. Is ट 00010, sundwau, U gawd, sundéwG. 1d aw bahwu padumini, J barana. 2. U niramala darapana, K badana kudana (?) jasa bhdnw bisékhad, Ia 5 jehi एद. Ib jehi jasa ripa soi tasa dékha, Id j6 jehi, Is 05 jasa rapa, U taisaht, K jehi jasa ripa so taisahi dékha. 3. Id dhant waha dipa. Is dhanya désa jehi dipaka. K dhanya dipajehi. Ia dai awari, Ib au bidhi padumini autaéri, Ia aw jd padumini dai sawar?, Is daiya sdwari, U asa ‘padumini dai autdr?, K au padumini dad autdri. 4. Icds saba baranai (Is baranaht) légit. Ibe K tehi sari. Id waha sart. 5. Ib wasa nati द] > U nahi asa, K tasa nahi. U trans: poses ll. 5and6. Is sarada-dipa, U sérdga-dipa, K sara-dipa. 6. U sari n@hi. Ia layka- dipa sari pitja na tahi, Ib layta-dipa nahi pitjai chahi. 16 lagka-dipa pijai parichahi. Jd layka-dipa pija parichahi. U layka-dipa na pijai chaht, K layka-dipa na puja parichahi. 7, Kumbhasathala, , 80 190 U, Ic k-s-th-l; Id, k-s-sa-h-l; Is kugasthila, K késathila. Is U para, hara, K ara bakhand. Ia mahasthala, 1b mai asthala, Ic mahasthala, Id U méwasthala, Is mahisthila, K méwasthila. 8. Is K prithimi?, U prathyumi, la au sata-u saba dipa, Ib au saba sdta-w dipa, U aura ju saté, K au yaha sata-u. 9. Iana upamd, Ib na zpara, Ie na pat, U uttama, K dipa tehi sari. । 26. 1. Is K ऽ& ४८, U Gandharpa saina sukha hhand:, Ia dhana कृ. IJ riéjé au ta. 2. UK raja...saja, U taku cahi badi, Ktahi. 8. 106 त K dala. K cérau disé kataka, Au gadha is very doubtful. Uragaht is a possible reading of the Persian Character. The following are the readings of the various MSS. Iab BS yy) 10 >$) Ta (as 9 9 ) Is 67006 raja, U ghara ghara raja, K 0 rangara raja. All printed editions have aw gadha-r@d. 4. ए sdrahi sahasa, Id sahdsa, K sdraha laccha. Ib sdwa karana baké tu°, Io jasa béka, Id syama karana baka tumhara, Is sawa karana caluko tér@khara (80), U bara gané tu°, K sy@ma harana turadki 5 (sic) tokh@ré.. The text has no difficulty if the technical meaning of cydma-karna is remembered, andif it is recognized that tukh@ra means ‘horse. 5. Id aru kailésa, Is imi kapild airépati, U janu ka bildsa airdpati, K saké bandhi réutapai (sic) ati bali. 6. Ia soh@wai, Is asa-pati, U asu-pati kd, gaja-pats ka, K adsu-patinha, K gaja- pati sira ankusa gaja na@wat, 7. 18 nara-pati kahat jo ahi narindu, Ib nara-pati ka aw kaha, Is U nara-pati ka kahdwa, K nara-pati maha kahal@wat indi, Ia bhi-pati ka mahd, 18 bhua-patt, K bhua-pati gaga para ddsara indi, 8. 1४5 U bhaihdi, K méhot. 9. K sabhar. | | 27. 1. Ibjohu (8 >), niardwé, Iod jo wali dipa, K je wahi dipa ké niaré द, 18 bhau @, Iabds U kabilésa, K hatlasa tinha niaré pat. 2. U K ghant abardi, U uthi एषा, K uthat bhitmi, Is ldga. 38. U tariware ficé sabai suhad, K taruart sabhat milé ohi ja, Ib bhai tast chdha, Ic sitala chéha, U raini kat aé, K hd jaga chaha raint bhai @. 4. Ia sohd- wana. 5. U abu jamwu chdha, K aw asi chéha raini bhé. 6. Ta jaz saht awai ghémi, U panthika cali dwai sahi. K panthika pahiicar sahi kat ghéma Ibs K, ghamda, bisrénd, ए bisarat bhat sukha bisramd, K bisarai chana kai bierdmé. 7. Is K jinha waha, U j6 pawar
6 s PADUMAWATI. [27-31
waha chaha, Ia sd dhitpa, Ic dukha काणक, Id tehi dhipa. 8. U ast dbardi suhdwani, K ast abardi saghani ghani, Id pérai, Is parahi. 9. Ic cahu disa, K philahi pharahi chaau, U manahu, | |
28. Id ambha ( ? da3| ), K ama. Id U suhdé. Ibe suha@i. Is K sohaé. Ia aura jo, 2. Id péda mat piké. Id N Ia ati anitpa phala takai Ib badahari phara anipa Ie badahara séu. U aubadihari anipa suthi त्क. 8 Is pdkaladjému jo paki Is jébu jo paka. 4, 1५08 pharai phar? K pharé aw phari khajurt. Id pharahi janu. Tb sadé 2८, 6. Ia mahua@ cuat so adhixa Ic punt mahu cuai so Id cuai jo mahud so adhika Is punt madhu cuaiso U puni mahud 56 bahuta KEK inha mé cuat madhura mithdsi. Ia asa mithi—asa एय. Ib tasa bast. Id asa mithi. Is mitha. 6. Is d@wana, U atizala baad. K anawana nai. Ia saba sdbhata. Ic sabha. Id K jasarduna. U dékhé. K2 aura khawahajé anawana nai, dékhi sabai rawanika abardé. K3 awara rikha {6 d@wa na ndit dékha sabai sohdwana thad. 7. la rasa ambrita. Is lagd. K 1006 Ia jai cakhd. Is koi jak cakha [ gat 36 cakha, K 96 cahat cakha, 8. Ic lavaga supér?, Ia U K j@iphala. Ic sabha. U au phara légu apira. K phala pharé. 9. K abili.
29. 1, 18 K pajichi. Ic karata. 2.Ib U K hota bélaht. Is K pénduka. Ics tihi 3. Ia so raha. Je sora bahu karahi, Is rahasa kareéhi, U siigd sdré6 au kurarahi, K rahasya: karahi. The latter half of the line runs as follows in the different MSS.
Ta UpdyhS 2a Ip yd Wye Ib (5 195 102) Beh ` 16 Ep) SS (१२१२ ae Td (नै) 355 9! 1 (न is Ste परेवा अड कुरुरेषहौ ॥ ए बोलि wile fas fae कद्ध ॥ - ए नोल परेवा अड गुरुराद्यै ॥
The verb 4/ karawar=kalabala is frequently used inthe poem. It must be some form of it which should stand at the end of the line. 4. Ib U make this the 6th line. Ia karahi, K karai lagé. Ia gudurd, Ib kiha, Is kaha gu® Is khéhd. K hat guru 6 1472. 5. 180 bahu bahu. Is bahd bahé, K bahau bahau. [268 1612 kat. 6. Ib dahiudahiu 7. U K kuhwkat, Is kikuhé. U kagawara karahi batthi 80 कद. K द karahi pukdrahi kaga. 8. la panchi ahai saba, Ics pankhi jagata ké,U pankhi ahi jaga, K paichi kahit sravana, basahi sabhai adbarau, 9. Is apani apani bhakha
30. 1. K kia kulawari. Ia saji, Ta au caupairi. Is sajé pinthi kaha j6 padwart. K au caupart. 2. Icds kunda bahu. Ic sabha 18 tinha kara U sabaké. 3. Iads K mandapa 4. Iac U K koi (U hou) rikhésura. Is koi vigégvara. Tacs U K 162 réma. 1668 ए jani Jad kor bisuast Ibe kot m 5 w dst Is K masawdsi U koi dast. 5. Iacs U K koi (U 16) mahésura. Id 547 jati, Ib kot pu’ Id koi 56. 6. Ta °caraja sd 14°, Is brahmacarja U brahmacdéra K brahmacari. Tacs U K k6i ( 1८} क77. 7 This line has many variants, Ib is however clear. Jad kot sarasuti siddha, Is kéi sunata, U kow sati santa siddha, K 167 mauni suani 0507. U K pada. K gahé br,
8. The various readings are
Ia siurd khiurd bana sabha sidha sédhaka abadhita, Ib siura khéra na@naka panthi snk adhike audhita,
To stura khiund bana sikha sddhuka au audhita,
Id sturad khiund sarasuti sikha sadhaka audhita, Is seward khewaré bana para 8८110 sddhaka abadhuta, U gigi त sannydas? bahuta digambara dita, K seward khénd banaspati stkha sadhaka abadhata,
9. la jangama 44८ sannydsi siurd aw audhita, Ib baithi saba mandapha paca at®, Id K paca at?
31. 1. Ia dékhat Is K baranati U manasaréwara ati augaha. Tb pala hara(?) Ie K jasa ati Ids asa ati U jaha wara para nahi thaha 2. Ia 472 moti, la U ambritawana Ib ambritabéna Id ambrita nira K ambrita pani khira su.° 3, Tas mégdtIeP 5 déu mdi K sara sila. ए kanaka silé gadhi sidhi lai, Is 50 ghdta sohai U badhdi. 4, Ia sidhi wpura, Ib bahutér?, U
31-38] PADUMAWATI. 7
others ratd. U kamala. Ta दढ, 6. Ia chitaraht K ulathahi mati manika hire Icds cunahi. U cakai cakawé kéli. K dukha dékhi mana rahai na third. 7. Ic lénd, Is K paurahi, Ia U sawaré soné, Icd kinha saba, Is likha saba, K. 72172 gadhi. 8. Ib para, K beli cahi, Ib, suphalaskh 7 bahu ritkha Is K phala U suphala pharai saba. 9. K harat pydasa.
32. 1. Ibe bharahi, Ib su-padumini. 2 U paduma basa, Ta saha sayga, K sanga udahi 3. Is saraga baini. 4. Ia bahu patinha, U await sd saba patinha. U. barana barana au bhatinha. 5. Ids K interchange lines 5and 7. 78 5 and 6. 5. Ja rahasi kidi saba @wahi. 16 rahast kuda sat, Is U rahasa kéda sat, K rahasa kéli karata saba jahi. U ja sau cakhu hérahi panihari. U K hanat. 7. Ia ए. sira pd ta7,Is sira yd tai. U meghdwara, pai na tai. 8. Is dchari, U achari rtp. anipa. Is U wé panthari, lab té rani.
33. U omits the whole of this stanza. 1. Iad taléwara barant, Is K taldu barant nah. Ia geht nahi, K kachu néhi 2. Ia philai kawala kumuda, K gagana para. 8. Is maccha kaccha ki. K camakahi mégha 4, Ics K bahu ragga. 5. Is karéht K camakahi cakawa. Ib nist bicharahi au dinahi. Ic bichdha so, Id bichdhu jo, K nisi bichdha raha dibasa mt.° 6. Ia karaht huldsd. 18 kururahi. Ic jétahi muai rdhahi eka, K mue-hu na bichurai hohi saga pasa. Ib gives ए. 1, jiuna muai dchai eka pisd. 7. For the first word we have adopted, kéwa, a lotus, which however gives bad sense. Some fish eating bird is referred to. We can make nothing of P. lahas ? kny ९८ Ibn kthad,Icbnsdédornb sé Idis entirely illegible. Is
baka 8. Ibunha, K uha sarawara. K barahi [ठ jasa 9. K hoi parai 56 pdwat 716८2 sipa.
| 84. 1, UK lagi. 2. Is turutija jabhiré, Icd U jabhird. Ia au bddama ४८4८, Ibd ~ badama béda, Is ९९८८. U एव, K baddma jo péda, 3. Is gdgala suraga, U gala gala tuta, K néragi rakata raté. 4. Is naubéré...... mana tira. U nau-baté. Ia U K वाद. 5, Ia sohawana harapa, Ib harapha, Is sohai su harapé, K alaga sohd@ harapha. Is K awnai rahi, U unhaw. Ia K kélanha, Is kéra. 6. K kamaraygé १४९००८2, Ia कदु, Ib rai sugandha cho°. K sikha déu U has an altogether different couplet, viz.
प्रउनारौ सो aga मिठास | मधु जसु मठि TEU जसु बाख |
35. 1. K candana ké basa. Is phara au phila, K pahupa phila lagé gha®. 2. Ics 1९०१८ 3. K kwiijd, Is bikauré, K bakéwari. 4. satibaraga, 80 N. It is the Persiin $4) ०० which isso 80616 70 ए. 5. K sdna basana. Is sewati, Is répa-majari au mdlati jati. All other MSS. have similarly a matra missing at the beginning of the second half-line. Accent must be used for quantity. 6. Is K bahuta 5८९०. 7. maulasart (nimusops elengt),—whenever this word occurs in the poem the MSS. vary between bélasari and maulasari. la maulasari , 05 béli. 106 bolasart bela aw. Id bélasar? एल, Is mélasarz. U maulisir? béli K maulasari an béili. Icd K sobhat K phula (द्द bahu. 8. U badi bhaga. 9, U sugandhi wé, K sabhaz subasa lat. K {50 basanta. ।
36. 1. Ia tasa bdsd, Is phirt basa, U ja bdsa, ह styghala dékhi apuniu basa. 3. Ids ए K rayka. K 86 saba hasa-mikhi. 4. U makes this line the last of the stanza and has cir? ....., kastirz. Id raci raci saat candana khabld, thanghit sabha-pate baithai sabha. 5. K sdné khambha—sabha, Ic khdbha—sabha, Id mixes up lines 4and 5. U omits this and repeats 4 with slight variations. 8. ghaké@, so Iads, Ib ddhika Ic néhaka U K aw asi panthi. Ia sébhata kala anitpa. Is jasa 5४०, U janu kabilésa anit?, K séwaht 1604. antipa, Ia sabha darasana saba vipa, Iced U saba acharinha ké ripa.
37. K has following ordor of verses 89, 40, 37, 38. 1. K puni baranad. 2. Ia kwmakuma Ico kithikihi, Idkumakthi, त hata kuykuma so lipi, K kuykwma (दद dipa, Is baitha, U baithi, K baisu. 3. Ia hatd racai saba कष्य, K १८८९ hata sabha répanha. U citara bicitara. 4. Is répa saba dha’, U bhala pard pa’. Is dhavala-sri. U pata khirawari, K patabahu kha’, - 5. su anawana, So Iabds K. The vowel points are carefully given inIb. Ic hiré lala pn sana bahu 1८८, ए hira ldla suanimanu. 6. K agara daund raha piri. Ia jat isa hata na linha, Id U kinha, K 26 na hata tehi, Ia nahi léha, Is kasa द्यम U K kata. 8. U kod throughout 19 K labha lat. Jab U K mula. ।
88. 1. Iahdakai, UK have kat singéra dhani baith: (K baist bahw) bésé | mohai darasana vayka (K répa) narésé || Io saba batthi. Iod sira cira, U au cira, 3. K bénu, Ia mohita hohe paiga nahi jahi. Icds U nara mod’, Is guna paigu. U nara pai’, K nara paraga na. & ITasdniwat. 5. K phdsi वहा U K katacha giw hart (ल. 6. K ménahi, Is tari, U K dari. 7. 1६ hété kéli rahi teht. U kité kha? K kété chaila rahahi, Ia jhért kat. 8. K cadhé turdi ruhahi wahi taw lugt jau lagi gatha raha phefa, Ia gatha hoi, U jaba
8 PADUMAWATI, [38-46
lagi. 9. This line is very corrupt. Ja ufhi bhdgahi, Ic om. bala, Id séthi ndthi एह na pawat, U sathi natht hwai calai batdu, K s&ta nighaté uthi bhaew batau. The reading given in the text is that of Ib. The metre is however wrong. U puni pahicéni.
39. 1. Ia K baitht singdra hata phulawart. Ib phulahéri. Id reverses the order of the two halves of the ८८/07. [© pana aniipa jo dha? K dhard. 2. Is U gandhi, K baisu. Ia K bahuta ka°, Ib méli kapira, Ie U phila ka’. Is U K khirauré. 3. Ia U K puréné— bakhand. Ib dharama papa. Is dharama rasi. 4. K kathd kabitta kaha koi, K एता hor 6. Ibndda téda dhuni एवद्. Is céfaka cdlé 7. Ic thagauri l@, 1s kataht kénha thaga, U katahi thaga thaga bi’. Ia madnukha. 8. U rahaht té néca. 9. Is 65 tehi néca. All MSS exo. U insert agamanu after rahai. The word is superfluous and spoils the metre. 12 56 bdca, Id tat bdcu, Is wai baca, U pai béca, Is U K gatha. The reading of this दतत is very doubtful.
40. 2. Kuruma. P give no vowel marks. Is kurdbha. U janah&é karama. K taréhi rambha ba. Printed editions have karéhi which is a possible translitera- tion of P ay 155 for 24,5, U paraidi. 3. Ila khada phéracahi’, U céraw disi baka. 4. Id parai 79, Is para: to. 5. la U 76 unhi cadhai, Ic tinha ki ८८० Is K naw-ht jo cadhai jai. 6. Ib bhari naraka taha disa, [8 U bharé, asi disd, K asa. 8. All MSS insert pahicai, after nahi. The word is superfluous and spoils the metre. U lagi suméru. 9. U haha lagi karat budai.
41. KX has following stanza order. 36, 39, 40, 37, 38. 43, 44, 45, 46, 47, 48, 41, 42, 49, 50. U om. 41. Ia ndhitohd?. 8. Iateht bha?. EK té bha?. The latter half has an instant too many in all MSS. except Ic, Iad pai. Ic jata for cépata, Is k&pai jégha. K képai jagha dékhata khana pa, 4. Ia réu. Ic darapahi hati. K darahi guinda dékhi unha the. 6. Kraté puchi. Is K 17102. The second half varies greatly. Ia lilé lihé Icd guijari kinhad. Is kajala (दाद, K dékhi oi stha. All P have jibhd in the first half, which, how- ever, does not rhyme. 8. K nauw paur? bhau khanda tehi. Id aw teh? nau kéwdra. ।
42, 1. Tanau-unha, [© U K nau paurt. K dasama. K té& para 2. Ta ghari jo. Ic ghars ghart so ganahi, la paharahi pahara so, Ic pahara pahara para, Ids pahara so apani apani bar, U pahara so apani apani, K om. the latter half of this cawpd and the former half of the next. 3. Ia pija taba mara. 4. U pard su-didi. 16 K kara, Id khara. Is matt bhada U kati nicinta. 5. Ic tumha td. K taba tehi. Ia bhaen so phéri nahi thira bacé, U rahé na jama té thira. 6. Ic tumha ja#, U jo bajai ghatai, K ghari jo ` ghatai. ghatat. Ia ka nicinta aba sou ba®, Ib séai, Is nicinta hwai séahu ba®, U kati nicinta, K nicinta bhai rahat bata, 7. Ia hid basana ka ji guna 367, Is hia na sugdi, U hiya bajara pai ja, Khué na suna nishé jagata kot. K adds jau lagi déva asta na hai । tau lagi céta karahu nara (6! || Ib also inserts this on the margin. 8. Ia taja marana, K jiana dina bharana, Ia jatsa rahaty ki ritt. Ib kawnat rahati ki, K rahai ghart. 9. Ia a marana ki, 1665 ghar? so a. U jala bhari, K bhari so dhari phiri bhart. Ia U K janama gaeu taha biti.
43. 1. Iagadhatara. U nira chira. 1b {द्या du®. U pani bharai awai drau- padi. 3. U jd sugandhi pani waha pid 4. The latter half of the verse has an instant too much if we spell indra asindara. U has kalapa braksa janu hai kabilasd, K kalapa taru indra kabilasa. So Is has indra kabilasé. 5. Ia saraga ठ sé. Ib saraga tehi sa°. Id mira. Ic asa pau, Id kow piw na cé. Is U pdwai ké ca. 6. Is céda pata. Id U jagata jaha, K nétra jaha. 9. U sati guru milai to pdwai 06 sédhai tapa joga.
44. 1. Is cari gadha°, U jara gudhi-pati. 2. Ib U saba ké. Is K dhaurahara, Ib apané apané saba १००. Id K suba apané apané. 3. U riipawanta saba basahi sabha®, 4. Icd N bildsa, Is sabat kau mda, K sabai sudha, Id koi nahi क, 18 kow kahiinaja. 5. U taha khée. 6. U कद sdra लाद taha koi, Ta K khéli bahu, U kharaga gahé sara pujant kor. 7. U baranawat त, U hasti-déna sin’, 8. U achiri baitht paisa. 9. Ib khata ritu, U chadi basanta auru nahi khati ritu, &c.
45. 1. Mahi ghibia the reading is very doubtful, Iab have (८९ HS € 80 also Ic,
५
omitting diacritical marks. Id ute 945 १९०, Is maht khibat, U mahi प्व. K mahi-
pati jhurt na pdwahi pari. 2. K h&thi st’. 8. Ic K koz-koi. U dhiimaré karé. 4. U
barana 86 ganahu méghd. Ia bhadra baithi gagana, Ibe gagana baithi, Ids U K gagana pithi.. 56. Is U baranau, U janu airépati kuali एक, Ia pahdra parabata kaha pé, 1d pahéra panni ` kaha, 1s pabaigahi pé’, U paina 86 €> K palaw gahi 57, Is U updrt. K ucdri ghali. 7. 1648 K méta nimata saba, 8. 16 mahi hali. U kurama ufhé hia séla. 9. Iac bhai pha, U jabahi calai gayandawé jagata parai bhi cala, K kurama pithi puni phatai unha hastinha ké cali.
खजानकौ वल्लभो विजयते ।
—— Ot O00
अथ सुधाकर-चन्द्रिका लिख्यते |
दोद्धा |
लखि जननो के गोद विच होत मनोरथ सुफल सव जनक-राज-तनया सहित राजत कोश्ल-राज लखि निचे निज जन जानिजो मिले दरखि निज बंधु Si का दुसाधु का साधु जन WQS सुधाकर-चन्दिका मलिक gene मति-लता जोरि जोरि सुवरन वरन
मोद करत रघु-राज। धनिरघु-क्रुल सिरताज॥ रतन-सिंदासन श्राज । सुफल करद सव ATI ऊच नोच तजि मान । ate भजड fea जान॥ का विमान समान | करत प्रकाशर समान | कविता कनक वितान ।
धरत सुधाकर् सान il
ucurata | ९ | असतुति-खंड | [१
अर पदुमावति लिख्यत । मूल ॥
अथ असतुति-खंड |
चडप्राई | सवरं आदि रक करतारू। जद fay che ate संसारू॥ atefa प्रथम जाति uma कौन्टेसि तेहि परबत कविलास् । कौन्हेसि अगिनि पवन जल खेदा । alefa बहतदर रंग उरेहा॥ कौन्टसि धरती सरग पतारू। atefa बरन बरन अउतार्॥ कौन्रसि सपत au ब्रहमंडा। alefa भुखन चउदह-उ खंडा ॥ ateta दिन दिनिञ्चर ससि रातौ। atefa नखत तर्न aati कौन्हसि ate धूप अड are! कौन्दसि मेष बौजु तेहि मांहा।
tet |
केन् सबद BA AT कर दासर aA न aifs पडिलद तहि कर नाउ SE कथा ATT अखउगाहि॥१॥ टीका ॥ ्रसत्ति-खड = स्तु ति-खण्ड | यद्यपि खण्ड खण्ड मे" ग्रन्थ कौ रचना करना ग्रन्थ-कारके लेख से नहो पाया जाता, तथापि बहत पुस्तकें मे खण्डां के नाम va से ्रनुमान दोतादडे कि पोषेसे लोगों ने a TY का पुराणवत् Aree करने के लिये पद्म-पुराण स्कन्द-पुराणदि के tu, दस मेः मो अनेक खण्ड कर डाले। इस खण्ड मे शश्र भरर गुरू कौ ग्रन्ध-कार A Ufa कौ =i दमौ लिये ca का स्तुति-खण्ड नाम पडा॥ मर्वेरं = सुभिरडं | जोति = ज्योतिः। परगास््=प्रकाश्र । कविलाख = कलास |
खदा = धूलि । उरे दा = उन्ञेख, रचना | दि निञ्रर = दिनकर, सूयं) तराण़न = तारा-गण। सौउ = भौत । ay = विदत्, विजुलौ । श्रजगा हि = श्रवगादन कर, FI AT ॥
९. सुघधाकर-चन्द्रिक्रा | 3
मे सवसे श्रादि चार एक (श्रदितोव) जो anit (ant = परन्रह्य) F उसे स्मरण करता #1 जिसने sta दिया ओर संसार को fear जिसने पदिले *ज्योतिः-खरूप ( महादेव) को carn किया arc तिस के लिये केलास पवत को किया। (मुसस्मानों मे कदावत दे कि ददुश्रों का महादेव हमारे लोर्गोंकाश्रादमटहे)॥ faa A aie, पवन ( वायु ), जल तरर Be (ahaa, भूलि) को किया । 1 ( सुसल्तान लोग ्राकाग्र को तच्च ael मानते इसौ लिये aet पर Weel त्नं का नाम कदा हे) इन्दौ चारो तत्वा से बह्धतद् (asa प्रकार के) Cat का Gee (रचना) किया र्यात् wet चारो त्व से श्रनेक प्रकार के पदां का रचना किया॥ जिसने घरतो (धरितो = vat), सरग (स्वर्गं), AIT पतार (पताल) at किया। जिस ने बरन वरन (तरह तरह) का saat धारण किया। ae, FH, वराह, न् -सिंह varie परब्रह्म श्वर के Haat पुराणं मे प्रसिद्ध Fu जिसने स्पत (सप्त) sty are agree को किया। पुरणेंमें जम्बू दोप, WH, WAG, कुश, AY, गो-मेदक WT पुष्कर ये सात sly प्रसिद्ध J faa ने खण्ड खण्ड vice भुवन को किया। पुराण मेँ wate, भुवर्लोक, खर्लतोक, AVA, जनलोक, तप- ओर सत्य- A सात ऊपर के लोक, रार श्रतल, दितल, सुतल, रसातल, तलातल, महातल AT पाताल, ये सातनौचेके लोक, प्रसिद्धै Tat aaa के भिलानेसे dice भुवन होतेह । al aay खगे-लोक, areata, ओर पाताल- लोक ले कर कवि लोग तौन-रौ भुवन कते S ॥ जिसने दिनम खयर राचिमें (vata के लिये) प्रि ( चन्द्र) at किया। जिसने aaa रार तारा-गणकौ पद्ध को किया ॥ जिस ने सो (श्रौत) धूप (घाम) रार ate (काया) at किया। जिसने मेघ (बादल) रार faa के ate ( मध्य) विद्युत् at किया ॥
tar सन qe जिस का कियाद दूसरे मे काहि (कौं भौ) जिस का gu शोभित नहो, पले उस का नामले कर (स्मरण कर) कथा को श्रउगाहि (ध्यानम Fa कर) ATA H1 श्रागे कौचौपाद्योंमेंभो सर्वत्र “ जिसने का योजना करना चादिए॥९॥
चपा |
कगेन्टेसि सात-उ समुद अपारा। alefa मेरु खिखिंद पारा i कौन्देसि नदौ नार AT इरना। कौन्तेसि मगर मच्छ बह बरना ॥
+ नान्दकपन्यिर्थो ॐ मत मे ज्योतिःखरूप से परब्रह्म लेते ` । † फारसो मे कानूनच। नाम पुस्तक के र्मे लिखा fa afy, वायु, जल Hit vay FV चार aes |
४ पदुमावति | t | खसतुति-खंड | [ग्
कौन्हेसि सौप मेति तेहि uti कौन्हेसि बहतड् नग निरमरे ॥ abefa बन-खड़ अड जरि मूरौ । कौन्ेसि तरिवर तार खजूरौ ॥ कोन्रेसि साउज आरन रदौ । कौन्हेसि पंखि vefe जह चदह | कौन्हेसि बरन सेत ay सामा। कौन्टेसि नौद् aq विसरामा॥ atefa पान फल रस भोगू। कौन्हेसि ag अआखद् ay रोग ॥ दोदा | निमिख न लाग करत राहि सबदि als पल शकं | गगन श्रंतरिख रखा बाजु खंभ बिनु ZHI समुद = समुद्र | खिखिंद् = किष्किन्धा, ga, जिस के ऊपर दचिण ya डे। cz
ज्योतिष मेँ कुमेर भौ aed ई । निरमरे = निर्मल । बनखंड = एो मे वन-रूपौ खण्ड ( विभाग) | तरिवर = तरुवर, Tet मेः बडा । साउज = शवज, मार कर खाने लायक जन्तु । ्रारन = अरण, वन । पंखि = get) सेत = Ba) सामा = श्याम । श्रोखद् = ओषधि, श्रतरिख = अन्तरिच | बाजु = वजेयिला । टेक = श्राधार ॥
(faa दैश्वर ने) sore सातो समुद्र" को किया मेर् Arc किष्किन्धा vere को किया ॥ नदौ, नारा रार awa को किया। (पाड के तलसे वा किस बडे ताल से जो निकले उसे नदौ, किसो गाम से नल-रूप दौ कर बहते बहते किमसौ नदौ मे faa उसे नारा (नल), ओर GIS A SST FHT PR जो पानौ बहता ॐ उसे ara कहते ड) । वहन (श्रनेक) बरनके मगर MT मच्छको किया॥ सोप को किया faa WH Fiat भरे हे । awa प्रकार के निमेल नग को किया॥ प्रो मे बन-खंड ( वन-रूपौ विभाग), जो, Are मूरि को किया। प्रायः set अषधिकेश्रेर मूरि खानेके कामम श्रातो Si टचा मे बडा ताड Are खजुर को किया॥ साउज (खाने लायक जन्तुं) at feat st कि ava (वन) मेँ ररते ड पियं को किया जो कि set wea S aut उडते ह ॥ Aa Bre श्याम वणं को किया। darcy qa UT श्याम-रो वणे मुख्य ह, दस लिये इन्दौ Vtat में मुख्यता way, दन्दो AAT का ग्रहण किया। wea, ate x विश्राम (श्राराम) को किया॥ पान, फल, Ta NT भोग at किया । sam ओषधि MT aaa रोग को किया।
ऋ * वार, दुग्ध, दि, टत, टच-रस, मदय, खादु जल, इनके सात समुद्र पुराणा मेः प्रसिद्दः was भिच्रम्रन्य-कारनेकंदू रक नाम fea Too fa cata की सिघल-याना मे मिल |
=| सुधाकर -चन्द्रिका | 4
पलक भजने A जो काल लगता ह, उसे निमेष aed हे । सो श्रोहि (उस को) करने मे एक निमेष न लगा । एक-हो पल a सव को किया। यहाँ पल से निमेष का पल लेना चाददिए नहं तो जो पल प्रसिद्ध दे, ae निमेष से बडा डे तव पूर्वापर यन्मे श्रसद्गति etn) निमेष का साटवां भाग निमेष का एक पल होता =
श्रन्तरिच मे Gat को वाजु ( वजेन कर र्यात् ate कर) विना arate के गगन (श्राकाश्र) को THAIS) सुसल्मानेोंके मतसे च्राकाश्र भौ, Are पदार्थौ के ar, एक पदां Sl परन्तु हमारे लोगे के मतसेश्राकाश्र शन्यडे॥२॥
चड पराई | कौन्ेसि मानुस ate बडाई । atefa अनन सुगुति az पाई॥ area राजा waz राज् । atefa हसति घोर तेहि साज ॥ कौन्देसि तेहि ae aga fata) atefa कोड ठाकुर कोड् दाद ॥ कौन्तेसि eta गरब जहि we) कौन्हेसि लोभ sae न कोई ॥ arefa faa सदा सब चहा। abefa aly न कोई cer कौन्ठेसि सुख अउ कोड अनंदू। कौन्हसि ca चिंता अड een कौन्रेसि ats भिखारि कोड धनौ। कौन्ठेसि संपति विपति बहु धनौ ॥ दोहा | arefa कोड निभरोसौ कौन्हेसि arg बरि्रार । द्ारहि तई सब कौन्हेसि पुनि कौन्देसि सब दार ॥ इ ॥ मानु = age | भुगुति = ुक्ति = भोजन | doe = भोग करता ड । राज् = राज्य । हसति = स्तौ | घोर = घोटक = घोडा | विराद्ध = विलास । दरव = sq गरब = गवं। BOS = AAT जाना = पूणे दो जाना = ठप्त हो जाना । जिश्रन = जोवन। मोच् = aq क्रोड = करोड = कोटि । दंदू = इन्द । निभरोखो = जिसको क्िसोका भरोसा नदो = अत्यन्त दुबल । बरिभ्रार = बलिष्ठ । कार = HH = राखो ॥ waa को किया ओर उसे बडाई दिया । क्योकि Fat कौ ष्टि Wage सबसे बडा गिना जाता रे। wa at किया जिसे fae मनुष्य ने भोजन के fea पाया॥ राजा को किया जो कि राज्य भोगताईै। भार तिसके साजके fea way र घोड़े को
é पदुमावति । १ असतुति-खंड | |३- ४
किया ॥ तिस राजा के लिये aga विलाष को किया, (कच, सिंहासन, सुन्दर भोजन आदि ata सुखोपभोग विलास दह) किसौ को ठाकुर (मालिक) र feat at दास किया॥ xa को किया fae at et कर (पाकर) गवे (श्रमिमान) होतार, लोभ को किया जिसके कारण कोई श्रघाता नरौ ( पूणं नहीं होता) ॥ जीवन को किख जिस को सद्ा (सवेदा) सब कोई चादता Fo way को किया जिससे att नहँ रहता हे र्यात् ay स्व को मार लेतौ Fu ga We करोड श्रानन्द को किया। दुःख, चिन्ता aq इन्द ्र्थात् ममल को किया॥ किमो को fran चार किसौको धनो किया। सम्पत्ति ( पुच, पौच, गो, घनादि वैभव) जर ्रति घनौ (कठिन) विपत्ति को किया ॥
किसौ को afa दुबेल किया भार किसी को बलौ किया। सव वस्तुको डार-हो से किया ज्रर भरन्त में फिर सब को कार कर दिया॥२॥ चपा | aera अगर कसतुरौ Fat) abefa भौमसेनि अड वचेना।॥ arefa नाग qaz विख बसा। कौन्ेसि मं हरद जो उसा। कौन्हेसि sat fas जेहि पाई । कौन्टसि विख जो मोच तेहि खाई। कौन्ेसि ऊख ale रस भरौ। कौन्टेसि कर्द बेलि बह aa atefa मधु war लेद माँखौ। कौन्टेसि wat पंखि ay way कौन्रसि लोवा vet चाटौ । कौन्टेसि aga रहहिं खनि aia ॥ कौन्हसि राकस भूत परेता। कौन्ेसि Waa देव war दोहा | atefa ava ABE बरन बरन उपराजि। भुगुति ete पुनि सव कह सकल साजना साजि॥४॥ श्रगर = सुगस्ित एक wet aed = कस्ढररो = श्टगमद | नेना = वेण = खस | भोमसेनि = भोमसेनो aI) चेना चोन देशका कपूर । मुखद = मुखे मुख F | श्रमो = WaT । पादै = पान कर । करद = कदु । मधु = Wes | मांखौ = म्चिका = wal wat = भ्रमर । पंखि = Wa) पांसौ = जिन जन्तुर को छत्-विगरेष मे पर उत्पन्न हो
8 - ५। सुधाकर-चन्धिका | ‘9
नाता S 1 जेसे वर्षा खतु मे haa at । लोवा = लोमडो | उंदुर = gar । wiz} = चौँटौ | राकस = रास । परेत = प्रेत। भोकसष = वुभुचु = yeas) द एता = ea! उपराजि = SUA कर ॥
ant, Ha, ओर खस को fear) भौमसेनो ओर Sa कप्रर को fHar नाग (सपे) को किया जिसके मुख मे विष बसताद्े। मन्त को किया जो va इये विष को हर लेता Fu saa को किया faa को पान कर (प्राणौ) Mar =) विष को किया, जो तिस को खाता ह ae ag ature होता हे यदहं “मोच "के खान मेः “ar” यदह पाठ रोने से सुन्दर अथै लग जाता रै। जो तिस at खाता = az मर wat FG at किया जिसमें मोटा रस भरा रता Fl ask बेलि को किया जो कि बहत फरतौ Fu मधु को किया जिस को ले कर मक्तौ (Sa को) लगातौ ह| भ्रमर, पतती, AIT पांखौ को किया॥ लोमडो, मूसा, Ae WA को किया। बहत ter किया जो wel को खन कर Ted दं ॥ राच, wa Ae प्रेत को किया। भुक्डड, देवता, चरर दैत्य को किया ॥
तरह तरद उत्पन्न कर Bate et को faa ( हमारे यद्धं चौरासो लाख योनि = परन्तु यन्थ-कार ने श्रगार-हौ हजार लिखा ईहे | *मुसल्मानौ मत में अरटार-रौ ent योनि =) ॥ सब तरह कौ साजना (तयार) साज कर (बना कर) सव को भोजन दिया) श्र्थात् fae को जैसा चाद्दिए वैसौ सव सामय रुमेत भोजन को दिया ॥ ४॥
चपा | धनपति sez जेहि क dae सबहि देड निति धट न ere) जार्वत जगत हसति अउ चाँटा। सब कहं सुगुति राति दिनिबाँटा॥ ता करि दिसिरि सबहि उपराहौ । मितर सतर कोड् faa नारौ ॥ u@ पतग न ब्सरईइ ato) परगट गुपुत ae लगि होई। भोग-सुगुति बह भांति watt सबहि खिच्ावद्र अपु न aes ता कर TET AT खाना fawat) सब कहं देर् भुगुति अड fase सबहि आसता करि दर सासा अहिन काह कड् आस fara
* मुस्र के va मोलद मे" लिखा ys कि “fee हजार खलम” अर्थात् अठारद जार यानि दं । asa से लीग कदतेदडे fH यं खठारद दजार से अनन समकना GET |
८ पदुमावति । ९ | असतुति-खंड | [५ - ६
TET | जुग जुग देत घटा नही TE हाथ तस कौन्ह । AI जो SE जगत मह सो AI AT कर SAVVY I
निति = नित्य । aaa = यावत | चाँटा = eer दिसिरि = दृष्टि । भितर = मिच। सतरु = WZ । परगट प्रगट | FFA = गु । BTA = ATT | सांसा = ATS । जुग = युग। GUT = उभय ॥
धनपति वौ ईश्वर हे जिस का कि यह संसार ₹है। जो सव को नित्य (wage) देता 2, परन्तु उस का भण्डारा नरौ घटता॥ जगते हाथो सेले कर Pe तक जितने प्राणो ह, स्वको रात दिन भोजन वांटा करता 30 तिसकौ दृष्टि सबके ऊपर हे। एेसा कि faa wy feel को aey लता (जो लोग Sax से विमुख ॐ वे-रो ईशर के ग्रत दैः )॥ wet तरर पतङ्ग (फतिंगे, धासेः जो छिपे रहते ड) किमो को नहो wear) जदं तक कि प्रगट चार गश्च ड । यहां प्रगट मे cat भर ga में फतिंगे को करम से ग्रहण किया Fy waa प्रकार के उपाय से gaa भोग-भोजन सब को विलाता हे, परन्तु श्राप ge ael खाता। (जो रुचि लायक भोजन डे, उसे भोग- भोजन कलते दहे )॥ तिस ईश्वर का यदौ खाना पौनारै, जो सव को भोजन ओर जोवन देता ₹हे। aula HA लोग खाने TA aq eta €, उसो प्रकार ओर लोगों को भोजन तरार जौोवन देने मे Sat aa Mar Fu सव fas कोर एक we तिसो (Sat) at ara 31 परन्तु वह Sac किसौकेश्राशा से नैराश्य नरौ F 1
faa प्रकार से उभय (दोनों) हाथों at किया 3, र्यात् फैलाया ह, कि युग युगसे देता चला श्राता ह, (परन्तु भण्डारा घटा vel) | जगत् के वौच ओर जो qe दिया sar (देख पडता) हे, सो स्व gat का दिया em FS) (संहिता-कारेों के मत से ४२२०००० सौर वषं का एक युग होता ड, च्यौतिष वेदाङ्ग के मत से ५ सौर वषे का युग दोता ईै)॥५॥
ASUS |
रादि सोद बरनउ बड राजा। आदि-ह sia राज जेहि छाजा। सदा सरबदा राज ORS) अउ जहि UWE राज तेहि देई॥ छतरि अद्कतरि निङतरहि erat) दोसर नाहि जा सरबरि पावा।
¢ | सुधाकर-चन्दरिका | ८
परवत ढाहि देषु सव लोगू। zfs करद हसति सरि जोग्॥ वजरहि तिन az मारि उडाई। faafe बजर az देड बडाई i काहृहि भोग भुगुति सुख सारा । काहदि Ate भवन-दुख मारा। ता कर कन्त न WAT RST! करइ Az मन चिन्न न HF Stet | waz नास्ति वह असथिर अदस साज जेहि केरि। एक MAL AY HAT Wes Baws फेरि ॥६।
सरवदा = Wag = सव BE देने-वाला । कतरि = ast = जिस को aa अर्यात् पर- परिघाण (दूसरे का पालन करना) शक्तिं हे seat == विना चच ar art के।* निकतर हि = विना चच-वाले को । सरिबरि = बरावरौ । बजर दि = वज्र को । तिन = ठणए । सारा = रचना किया = बनाया । भवन-दुख = घर का दुःख। अखथिर = fet) aise = भग्र करता हे = तोडता हे। सवार दर = रचना He I
MT बडे राजा का अर्यात् शश्वर का Gea वणेन करताहं। ्ष्टिके nfs से अन्ततक जिस का राज शोभित हे ॥ सब कुक देने-वाला ae ईश्वर सदा राज करताङै। ओर जिसको we तिस at राज tars faa at waz उसे विना चचका कर, विना चच-वाले को (उसो aa से) gaa Fl दूसरा कोई नहँ रहै जो उस कौ बराबरी को पाबे wuld बरावरौ कर aay लोग देखते S कि waa को Ter कर, wR Ve को हाथो के समता योग्य करतादडे। वज्र को SU कर मार कर Bet Zar F1 aw को ay कर ISS देता SF अर्थात् eu को He बना Sar Su faa के लिये भोग भोजन UT सुख रचना किया। frat को fare eT घरकेदुःखसे मार डाला॥ faa Sat का किया कोई नरं जानता । जो बात मन चैर चित्त मे नरो होती aw करता = (मन ओर चित्तके लिये ६५ बे StS at टौका देखो) ॥
संसार मे सव बस्तु कुक नरो हे, wala सव चञ्चल है, उत्पन्न इई, ओर नाश कै, परन्तु ay Tat सवेदा थिर Fi ter जिस Sat का सब खाज, az UH को साजता 3, रर दूसरे को विगाडता हे, We चाधेः, at फिर (fans Eu को) रच डाले. भ्र्थात् SAT का तेसा बना डाले॥ ६॥
* ala स्थान a कचो रात् जिसके शिर पर छव (दाता) दो,रेसा कर देने से, यदद दूसरा ष्यथं AG mas |
श
९० पद् मावति । १ | असतुति-खंड | (७
ABATE | अलख अरूप BATA सा करता वह सब aT सब ओहि सड बरता। परगट गुपुत सा ara fasts धरमौ whee whe नहिं पापौ। ना ओहि पूतन पितानमाता। ना हि क््टुबन कोड् संग नाता।॥ जना न काह न कोड् ओहि जना। जह लगि सवता कर सिरजना।॥ वेद सब ale जहां लगि कोड । वह न ate काहू कर हो ॥ हत पिल् अड अव द् ate | पुनिसो Tex ces नहिं कोई ॥ अउरुजा BIZ AT ABT अंधा। दिन दुद् चारि मरद कड धंधा॥ ददा | जो वेद MST AT HSA करद जा चाद Als | बरजन-हार न कोई सवदि चाहिजिडदीन्ह॥७॥
अलख = WAY | RITA = श्रवणे = विना रङ्ग का, वा अव्ये = वणेन के योग्य नरं | बरता = वरा Bat हे। विश्रापौ = वयापौ। सिरजना = रचना किया Ear) इत = या) बाउर = NATH) कद्र = कर के। धधा = कायं । als = चाना कर = च्छा से॥
qe जो Hat परब्रह्म Fats सो भ्रलख, wey Bre Hara (विनारङ्ग का, वा श्रव्यं) SJ) ae सबसे, ओर् सब कोई Gad, वटे Bas (रसौ कौ तरह) ॥ वह करी प्रगट aq से, करीं गुप्त रौति से, सवच are डे परन्तु जोधमौँदहैःवे लोग at दस श्वर को पदहचानते S, AIT पापौ नदौ पहचानते॥ नउसको पुच, न पिता, नमाता ङई। न उस को कुटुम्ब डे, ओर न किसौके संग उसका नाता ( सम्बन्धे) Fn वद किमी को नहः जना ( उत्पन्न किया), ओर न उष को कोई उत्पन्न किया। परन्तु ज्य तक सव डे, वह सव sat का रचा ER TI जहौ तक जो Ges, सव sal ar किया sar ड, परन्त॒ वद किमसौ का किया नहो ₹े॥ Geet भो वह या, Met wa ay सो ईश्वर = फिर (श्रागे) भौ aet रहता, Are उसे छोड को$ नरौ रहता॥ रजो Var ङे (संषारमेः)सोवौरदहाओर aa FB) दो चार दिन धधा (कायं) कर मरजाताॐड।
जो उस ने wer सो किया, तरार जो करने Bears सो करतार। उस को को बजने -वाला ael हे, सव को श्रपनो car से जोव दिया Fin
८| घुधाकर-चन््िका | १९
चपा | एहि बिधि whey arg fra) जस पुरान ae लिखा aera जोड नाहि पड जिच्रड गोसाई कर नाहौ पद करद सबाई। जौभ नाहि cz सव fay बोला। तन नादौ जो डालाउसा डाला। सवन नाहि us सब fae सुना । fea नारी gaat सब गुना ॥ नयन नाहि us सब faa देखा । कवन भांति अस जाई विसेखा ॥ ना कोड् दाद् इद् ihe FH रूपा। ना चदि अस कोड अदस BATT | ar aife arg a च्रोहि भिनुटाऊ। रूप रेख faq निरमर ara दोद्धा । ना वह मिलान वबेहरा asa रदा भरि UT दिसिटिवंत कह नौअरे अंध मुरुख ae दूरि॥८॥
frag = ज्ञान । सवाद = खव कौ । डालाउ = डोलाता ₹हे = चलाता हे | सवन = श्रवण == कान। ae विसेखा = विशेष ea a वणेन किया ma) बेदरा = श्रलग। fefafeaa = दुष्टिवन्त |
दरस प्रकार से चोन्दोत्रर ज्ञान करो, Ser कि (उस Sat का) पुराण मेँ वखान ( वणेन ) fear Su जोव नहो हे, पर वह गोसाई ( गो-खामौ = सव दृद्धियों का पति) stat Sl उष को कर (दाय) नौ ह, पर सबको करता Sn “sa को का aaa योजना करना चाहिए । जोभ नरौ हे, पर सब कुक बोलता Fl तन (तनु = WOT) नहो हे, पर जो डोलाता F वौ डोलता S$) अवण नरौ रै, पर सव कुक सुनता डे। few (दय) wey हे, पर सब gam (विचार) को गुना (विचारा) करता Pu नयन (नेच ala) Te हे, पर सब He देखता ₹। किस प्रकार से aa का fave रूपसे वणेन किया जाय॥ उसके GIR tar न कोदूदहोताडेञओरन को दे चार न उसके Far MET तरार न att Tar अ्रनुपम हे avi Beat A न्यायसे यदि “att” का etait रोर श्रन्य किया जाय तो गन्ध लग जाता ड, अथवा “aga”? के स्यान मं “Ute” ars किया जाय, तो उस के tat कोई श्रनुपम ael होता डे, यद sta WT as जाता डे) ेसा न करने से “शरस ओर “gzy”
KR पदुमावति 1% | असतुति-खंड | [<-¢
दोनों Wee एक-हौ श्रये के बोधक एक के श्रपेच्चा एक व्यथे पड़ जाते F | न उस को स्थान हे, ओर उस के विना कोड aa नरौ डे, wird वह ada व्याप्त 3) रूथ तरार रेखा (fee) के विना ae 3, दसौ से उस का fade, मल कर के रदित, श्र्थात् सञिद्ानन्द नाम पडा = I
न वद कसो से मिलाद्ेन किसौ से wane, (aac a) tar au qa दो रदा डे, कि देखने-वालं के तो नौश्ररे (नगौच) डे, रार wa मूषे को दूर ॥८॥
ASUS | WIE BT दौन्टेसि TAA AAA | ता कर मरम न जानडइ Wer | दोन्हेसि रसना अड Ta भोगू। दौन्टेसि दसन जो faves जोग् ॥ दौन्टेसि जग Paz कह नयना दौन्हेसि खवन सुनडइ् कह बयना I etefa az बोलि जेहि मांँहा। दौन्हेसि कर-पल्लड वर afer i atefa चरन अनूप चलाहौ। सो पद् मरम जानु जेहि नाद्यैः। जोबन मरम जानु पद् बृढा। मिला न तरुनापा जग दृढा ॥ दुख कर मरम न WTAE राजा दुखौ जानु जा कं दुख TT I दौद्टा | कया क मरम जानु GET भोगौ ces निर्चित। सब कर मरम Tas SAE जो धट घट मह निंत।॥€॥
रतन = रन्न | अ्रमोला = Bae) भोला = सोधा श्रादमो, भोलना | रसना = fast | दसन = द शन = दन्त । वयना = वचन | कर-पक्लञ = कर-पल्लव == श्रङ्गुलौ । बर = श्रेष्ठ । वादा = बाड । चला = चलते Fi तरुनापा = जवानौ । वाजा = श्रब्द किया वा बजनौ किया = लडादै किया। कया = काय = wot निवत = निखिन्त = विना चिन्ता ati नित = नित्य |
तरार उस fat a (इन्दिय-रूपौ) sae रन्न at ft दिया ई, सौधा श्रादमौ उस के ममं को ael जानता॥ (देखो) fast को दिया, रार उसके भोग के लिये aan रस को दिया atat at दिया जो इसने के at Fu संसार को देखने के लिय aa को दिया । वचन at सुनने के लियं कान at feat) कण्ठको दिया जिस
9९ सुधाकर-चन््रिका | U3
a बोच मं बोलो Tedt हे। age रार ae as at fear श्रनुपम au को fear st fa चलतेदटे। दन स्व का aa सोई जानता, जिसको कि ये सब नौ दे ॥ जवानो का ममं निश्चय कर के ( पद्अपि = निश्चय) get जानता Bi क्योकि उसने जगम दढा परन्तु जवनौ न भिलौ। qs कौ कमर aa जातो हे, दस लिय वह wat al ait दृष्टि कर चलतादे। कवि कौ saa =, fa att gfe कर के जो Ast चलता हे, वह जवानौ को Se रहाडे,जो कि फिर नरौ मिलतौ॥ राजा दुःख का ममे नहीं जानता Tat जो प्राणौ हे, जिस के ऊपर द्ःख ने werk किया हे, वद दुःख का AA जानता इ ॥ यहां सुख Ws अच्छा इं क्योकि राजा सुख का ममं नरौ जानता, कि उसमे क्या alae हे। जिस पर दुःख ने चटाई किया डे, वह दुःख निरन्त होने पर सुख का WT श्रनुभव करता डे । राजाकातो wa A ZA नोचे जन्मो SAT, वद उस वो सुख को केसे जाने । जेठ कौ दुपदरौ से gee श्रा यदि wy Fh zat को Sa A Wa, तब उसको जान पडेगा, कि खसके ट कौ Bal A क्या alae हे ॥
TOT का ममे रोगौ जानता ईहे, Are भोगौ तो fay रहता ड, अर्थात् ने- फिकिर हो श्रपनो-हौ शरोर के ter aq का शरोर waga ई। गोसादै, जो Haz, नित्य सब के घट घट मं रहता हे, वह सव का ममे जानता Til दस Sts a aE मारा ast SSS ईसो प्रकार दस ay A starsat कौ माचा प्रायः घट as । दोहरा के माचा का TH न रहना, ओर waa खात सात चौपाई के wae दोडे का रहना, दन सबका कारण २१ वं ats में लिखा जायगा ॥९॥
चपारै | अति अपार करता कर करना। बरनि न VTE AWE Fat सात सरग जड कागद् करई | धरती सात समुद मसि urs) Wad जगत साख बन-ढांखा। saa केस रोव पि पंखा॥ aaa @e रेह जह ताई्। मेप बद् अड गगन act’) सब लिखनौ az fag dare) fafa a जाद गति समुद् अपारू ॥ Hz कन्त सब गुन WAT! BiB समुद बद नहि धटा\ अइस जानि मन गरब न WT! गरब करइ मन BVT सोर ॥
९४ पदुमावति । ९ | असतुति-खंड | 1.
tet | बड गुनवंत गोसाई eT at हाद तेहि A रउ अस गुनौ संवारद जो गुन करद BATH १०॥
पारद् = पार हो सकता डहे। काह बरना = किसौ भाँति = किमसौ प्रकार। साख = Wel) बन-ढाींखा = वन के ठंकने-वाले, र्यात् ga) केस = केशर = बार । रोवं = रोम । पांखा = पच । लिखनो == लेखनो == कलम । श्रनेग = श्रनेक I
कर्तां (परब्रह्म) का करना (करण, श्र्थात् ada) अरति श्रपार S 1 किस प्रकार वणन कर पार नहो हो सकता ॥ सात खगं Ae धरतो को यदि कागद करे, ओर सात समुद्र a मसि (स्यादौ) को भरे ॥ जगत मं जितने adit at शखा। जितने (aaa के) बाल तरार रोम, जितने प्चियों के पच्च ॥ जितनो जहां तक fast रार ter मेघ के gz, MT श्राकाश्रके तारे Su स्व को कलम बना कर ससार (संसार भर के लिखने-वाले) लिखे। तो भौ उस Sat कौ समुद्र के एसो aut जो गति हे, वह लिखो न जाय ॥ tar Sat ने सव gui को प्रगट किया हे (कि उनमें श्राज तक रन्तौ भर भेद aay श्रा, St A त्यों बने हे, दूस पर समुद्र का एक दृष्टान्त दिखाते F)) ws तक समुद्र मे एक Iz नौं घटा, श्र्ात् जेखा का तेसा बना Fy Fat जान कर मन a ग्वं न होना चाहिए जो मन में गवं करता = at बौरदा डे।
ae Mas Tar गनवन्त (gu a भरा =) हे, fa जिसके लिये जो चाहता ड, faa at at aq (we) होता Fi चार tar गुणौ को बनाता ई, जो खयं श्रनेक गुण करता हे, अर्थात् faa को खयं tet uf दो जातौ ह, कि aia गुण को बनावे | ter Sart a किसको बनाया डे। दख का सम्बन्धे Bat चौपाई मेँ लगा कर, ग्रन्ध-कार ने परब्रह्म का वणेन Bara किया॥१९०॥
चपाई |
, कौन्हेसि पुरुख रक ॒ निरमरा । नाड सुदम्मद् पूनि करा । प्रथम जोति विधि तेहि az साजौ। अड afe प्रति सिसिरि उपराजी | दौपक afa जगत ae दीन्हा। भा निरमर जग मारग Wert ay afe dia gee उजिच्रारा। द्धि न परत पंथ अंधिश्रारा॥
१९१ सुधाकर-चन्दरिका | Wy
दोसरे ठाउ दई वंद लिखे । भए धर्मौ Sz पाठत faa) जद नहिं as जनम भरि ATH ता कहं AS नरक मह ITS ll जगत aes द्ई अदि कौन्हा। दृह जग तरा नाड Sz TT दोद्धा | गुन अउगुन विधि gaa wists लेख अउ जोख । वह faaya आग् हाद करव जगत कर MTU I
gfas करा = after कौ कला । लेसि = बार कर । पाठत = पाठ । बसौट = दूत। HITA = BATU | YST— yar) दाद हि = दोगा । निनउव = बिनतौ करगे । करब = ata | मोख = मोच ॥ ।
ga Sat ने मुहम्मद् नाम gitar के ae वे कला, ter एक fase पुरूष को किया ॥ विधि (जहा) ने सबसे पले faa at ज्योति at esr Ant तिशौ के प्रसन्नाय ष्टि को उत्पन्न किया ॥ (agra) जगत को दौपक बार कर दिया, श्र्थात् aaa a qeaz को दौपक के tat प्रज्वलित किया । दसौ लिये संसार (संसार केलोग) निमल हो गया (= भा), Be मागे को पहचान लिया) यदि Tar उजियारा पुरुष न होता, तो afuart में पन्थ (राह) न as पडतो ॥ ae ददै ( मुहम्मद् देव) उन लोगों को gat सान मं लिखे, जो लोग कि उन के पढाये ये पाठ को fea fea रार जिन लोगे ने जन्म भर (उन वे पटाये ये पाठका) नाम तक ael लिया। उन के लिये नरक मेँ ara किया॥ faawt vik में दूसरे स्यान से खगं लेना चादिए। मुसलमानों मं प्रसिद्ध 3, कि val के लिये खगे Any पापियों के लिये नरक लिखा जाता है उसो लेख के ्रनुसार प्रलय में विचार किया जाता Fy दैव (ईश्वर) ने जगते उस को ( सुदम्मद् को) waar दूत किया (बनाया) दष लिये जिसने ( मुहम्मद ar) नाम लिया, वद दोनें जग ( यह लोक श्रौर परलोक) को तेर गया सुहम्मद का नाम लेनेसे, दस लोक में सुहश्मद कौ पासे सुख, we परलोक मे, दैश्वरके दूत होने से, $श्वर के यहां उख पुरुष को मुदग्मदने जो प्रशसा को, <a a सुख ॥
( प्रलय के समय में) ब्रह्मा JU श्रवगुण yar, Whe लेखा (fears) star (ata) होगा) वदो Hews श्रागे हो कर बिनतौ करेगे, HT जगत का Ata करगे ॥ यां गन्य-कार ने विधि (ब्रह्मा) We Fav मे श्रभेद माना F yer
९६ पदुमावति । ९ | असतुति-खड [RR
ASUS | चारि ATA जो मुहमद् ठाऊं। VER TE जग निरमर नाऊ। अवा वकर सिदौक सथाने। ufews सिदिक दीन वेद् aay पुनि सो उमर खिताब ate) भा जग अदल Aa जो az पुनि उसमान पंडित बड गुनौ । लिखा पुरान जा आयत सुनौ। “vax अलो fag aftate: wee al कांप सरग wale) चारिउ एक ATT FH बाता। WR पंथ अड wR संघाता ॥ वचन रक aT सुनावहिं सांचा। भा पर्वन Te जग बँचा। | दोहा | जो पुरान बिधि wat सोद पठत ata अउरु जा भरले आवतहि तेहि सुनि wate पंथ ॥ een
मोत = faa) मतद् = मते = मत मे । सात = संघात = साय | Wala = प्रमाण ॥
सुरम्मद के स्थान म जो चारो faa ये, उन चारं का दोन जगत मे fade नाम हे ॥ पहले का नाम अनवा बकर सिदटौक (aq वक्र सिदोक) था, वह वड़े सचाने (चतुरे) थे, Get ने (ससार मे) fata दौन (सत्य घरमे) को आने, ले awa, अर्थात् प्रगट किया ॥ फिर दूसरे जो यथे, सो उमर नामकेये, जिन at कि (खलोफा कौ) पद्वो श्ोभितयौ । जो किं (जव मुहम्मद् के) धमे मे atu, तव जगत मे न्याय श्रा, guia जगत न्यायसे काय गया ॥ फिर उनके श्रनन्तर, तौसरे उसमान नामकेये, जो fa बडे पण्डित att gut ये, fata कि उम पुरान (कोरान) at लिखा, Sat कि gaat (मन्त्रौ) को (ईश्वर से) सुना ॥ ate wal नामके सिंहके रसे बलिष्ठ ये। जवते लडाई करने को VS, तो GV A पाताल कंपने लगे ॥ चारो faa एक मत, एका बात, एक राद AT एक साये रदतेये॥ चारो जो एक सत्य वचन को सुनाते ड वद (aaa) प्रमाणक aS, WT Stat जगतमे वाचौ गई, अर्थात श्रादर से पटी गई । Raa उस वचन का (जिस को) प्रमाण BAM, वह दोनों जगसे वंच गया ॥
ब्रह्मा ने जिस पुराण (कोरान) at भेज feat या, gat ay at 2 लोग पटते So wt लोग (श्वर के aet 8) wat WF जो (ईश्वर कौ राद को) wa गये =, सो faa aq को सुन कर पंय (दैश्वर कौ राह) मेँ लग जाते हे ॥१२॥
९२ - १३ | सधाकर-चन्द्रिका । ९७
दस प्रकार से श्रपने मतके RWI का वणेन कर श्रव RIA समयके राजा का
वणेन ग्रन्ध-कार करता FI चडपाई |
सेर साहि देहिलौ सुलतानू्। चारि-उ खंड avy जस भान्। आदो चाज राज अउ Zl सब राजद मुद धरा लिलाटू॥ जाति खर AI खांडद BUTI अड swat सवद गुन Wei खर-न्वाँडे नवा खड ASI सात-उ दौप दुनौ सब az तह लगि राज खरग वर लीन्हा | इसकंद्र जुलकरन जा ATT I हाथ gear केरि अंगूठी । जग कह जिन ate तेहि aati az अति गरू पुहमि-पति भारो । टेकि पुहूमि aa fafafe सभारो ॥
दोहा | ax wale मुहम्मद् ate जुग हि जग राज। पातिसादहि qe जगत के जग तुम्हार म॒हताज।॥ १३॥
भानू = भातु = खये | पाद् = पट = शिंदासन। frag = ललाट = मस्तक | BIT = ais मेँ = तरवार Al सूर = बहादुर । बुधिवंत = वुद्धिमान् | खर-नवाई = बदाद्रौ कौ समकावट चर्यात् नौचा होना। दुनो = दुनिया प्राणै लोग । नई = ga गई = नौचे पड गई । खरग = खद्ध। बर = बल । दइसकदर = सिकन्दर । जुलकरन = दो सौ गवाला | सुल्तेमान = यह्दौ एक बाद शाह । पुङमि-पति = एष्वौ पति । पातिसाहि = वाद् शाह | मुदताज = भिखमंगा = Tes |
feat का सुलतान (वाद्) शेर श्राह (vat FH) चारो (खण्ड) भाग में र्यात् ga, पश्चिम, उन्तर, Theat Bar तपता ह जेसे खये ॥ उसो को (HT शाह को ) राच्च Sz सिंदासन Wear डे, (उस के ait) सब राजां ने weal मं श्रपने मस्तक को धरा चर्यात् रख दिया (हार मान कर प्रणम करनेमं भिर को सयका fear) i वह बादशाह जाति में ह्र BU सूरवंश्र काद (सूर एक श्रफगानो के जाति का नाम हे। उसो जाति HIT WE उत्पन्न BA था) चर तलवार में भौ सर श्र्थात् बहादुर 3,
are बुद्धिमान चर् सब AW मे पूरा Fo saat के नवो खण्डो ( भारतवष, 3
९८ पदुमावति । ९ | असतुति-खंड | , [९३
किन्नर वषे, हरि वषे, quay, दिरएमयवषे, रम्यकवषे, भद्राश्ववषे, केतमालकवषे अर दलाटत) मे (उसके ्रागे) बहादुरो कौ aay EX र्यात् gered को नोचा खाना पडा । ओर (उस के आगे) सातो दोप (जन्बूदौप, शाक, maa, कुर, क्रौञ्च, गोमेदक रार पुष्करदोप) कौ सव दुनिया (प्राणे) नय ag. (क गद, श्रर्थात् सव कोद उस के प्रणमे श्रा गये) ॥ उसने Ha BY के बल से तहँ तक राज्य ( gaa अधिकार मे) ले लिया, wet तक किदो सोगवाला सिकन्दर बादशाह ने किया art
सिकन्दर के भिरमे सोगका होना परम्परा से प्रसिद्ध डहे। wera FS कि एक fea बौमार पड जाने से सिकन्दर के हजाम ने बाल बनाने के लिये अपने qa बन्बन हजाम को भेजा । बाल बनाने के अनन्तर सिकन्दरने sic at वन्वन से का कि खवर्दार मेरे शिरमेसौगका होना किसौसे न कहना, aey at शिर कटवा लंगा । उस का aS विना पेट फूलने लगा, तब Haat से न कह कर, एक aN a, जो बडा पुराना कटद्र का पड था, उस से कद्, अपने पेट को waar किया (जड कटहर किससे जा कर कदे?) निदान विना कदे उसका भौ यदहं तक पेट फला कि करु दिनो मे सुख गया । एक बटष्नेउसेमोलले कर, Ga A दो arm ओर एक सुन्दर तबला बनाया । कत्थको ने उन सुन्दर सारगियो को Jc तबे को मोल ले कर सिकन्दर के दर्वारमे गाना सुनाने को Wa) उन लोगो ने लाख उपाय किया परन्तु उन से कोड mez न निकले केवल एक aa सौग सौग ged किन किन HS 1 दूस पर तबले से श्रावाज निकले कि बन्नन दजाम | दस का भेद वादशा को खुल गया । बन्बन कौ Fat कर एकान्तमे gar कि तुमं सच को मेरे fat में aia का दोना तुमने fHat से wer? | श्रभय-द्ान पाने पर वन्वन ने कटहर से कना कडा । Aa मे जान पडा कि sat कटर कौ ये सारगियां ओर तबला Fy
(भेर ग्राहके) हाथ मे Gaara at श्रगूढौ थौ, तिसो मूढौ से (जिसमे wast थो) जग at (जगत भरके प्राणियों को) Maa दान fearon.
कद्दावत ड कि जिस के दाय मे gaara कौ श्रगूढौ हो, ae रात दिन लोगों को रूपया पेसा देता रदे, परन्तु उष at मूढौ areal 4 Bt
रार वद भारो प्रथौ-पति (बादशाह) श्रत्यन्त गुर् था, wala भारौ था, कि mat at on कर (रोक कर) सब षष्टिको संभार लिया, aula wfe मे जितने प्राणो ये स्व का बोद्धा ( पालन, श्रच्छादनादि का) waa भिर प्रर vat लिया॥
९३ - १४ | सुधाकर“चन्दरिका | ९९
सुच्मद ने श्राणोर्वाद दिया कि ga युग युग राज करो, (युग के लिये भवं दोहे al Sint देखो) तुम जगत भर का Temes ददो, ओर सारा जग (संसार) तुम्दारा मुहताज रो, श्रर्थात् स्व कोद तुमसे मांगने al arnt करे, ओर तुम wa के दाता कद्दावो। यदहं Aen से मुसल्मरानौ मतके arse भरर दस ay का कवि दोनो का ग्रहण करने से श्रथेमे भेद नरौ पडता esi दूस चोपा मे गन्य-कार जो शर wre को गुरू बनाया। उस का समयन श्रगलो चोपाई मे FI GSUTE | बरनड ax पुहमि-पति ust! yefaa भार सद जेहि साजा। हय-मय सेन चलद जग पृरौ। परबत दटृटि उडहि हाद wt रइनि tg हाद cafe गरासा। मानुस पंखि sfe फिरि बासा॥ az उडि Safe गड् faa मंडा। खंड खंड धरति सिसिरि बहमंडा ॥ Sas गगन इद्र उरि काँपा। बासुकि जाई पतारहि चाँपा। मेरु धसमसद समुद सुखादौ । बन-ख्ड zie ae मिलि जादौ ॥ अगिलदि ate पानि खर बांटा। ufaafe are a aes ओंटा। दोद्ा | जो गढ aS नहिं काहहौ चलत होहि सव चुर । safe wez पुहमौ-पति सेर सादि जग-खर॥१४॥
इय-मय = घोडे से भरो । रद्रनि = राति = रजनौ । tq = रेण = धूरौ cafe = रवि at रये at गराखा = यास किया। ater = वास-स्थान = वसेरा। वित = wa = afaat=azt) मंडा = मांड दिया = मदेन कर उाला। ददर =दन्र। वासुकि = वासुकि = UR प्रकार का UG st ष्थ्यौ के AG रहता डै। रपा = चंपाया = दबाया। धस्मसद् = धस जाता हे । बन-खंड = वन-खण्ड = वन-विभाग । श्रगिलद् -श्रागे को खर = aU = घास | HIT = काटो = alas | ्रांटा = पूरा पडा | न्ड = सका ।
उस सूर जाति वा बदादुर र एवौ के पति राजा (ओर शाह) का वर्णन करता ह, श्र्थात् केसा गुर् राजा हे Gant बणेन करता Ss! जिस राजा के साज ( तयासे)
२० पदुभावति । १ । असतुति-खड | (१४ -१५
का भार vet नरौ weal Sl (जिस समय) घोडे से भरौ Bar an को पूरा कर aulq wat भर भें फैल कर चलतो ह, (उस समय ) पवेत टूट कर धूर हो कर GEA लगते Fu धूर uty द्धो कर श्य को ग्रास लेतो इ, श्रथात् छिपा लेती ह, मनु आर gat (रात waa कर) फिर कर (लौट कर) बसेरा लेने aaa Fo ग्मि उड कर अन्तरि को चलौ गै, श्टत्तिका ने धरतो के खण्ड खण्ड ( प्रत्येक विभाग) को, (विधि at) efe (माच) at ओर ्ह्याण्ड को मरेन कर डाला, श्र्थात् सर्वच धूर ara दो ग, भूर ate WT ge नहो दिखाई देता Sy श्राकाश्र घूमने लगता ड, sz (देवताओं का राजा) उर कर AIGA लगता हे, वासुकि जा कर पाताल को चाँपता Su मेरु (Baas का पवेत) नोचे 8a जाता द्द, समुद्र ea जाते ड वन-विभाग ze कर, auld faa faa el कर, मटर मे मिल जाते =F श्रागे के ( चोड को) faa किस at पानौ र घास बाँटा गया, (परन्तु) fad मे किसौ (घोड़ो) को कदो तक न च्रटा, श्र्यात् न पूरा IST I
जो गढ कभ भौ नहो के थे, वह सब जव vet का पति जग का बहादुर गरेर WE VBE करता ह (उस समय सेना के) चलते-रौ चूर Ut जाते FT, अर्थात् Ter गर (भारौ) राजा 3, कि उस केभार को कोद नहो संभार सुकता॥१४॥
चपा | अदल ATT YEA जस VTS! चांटहि चलत न दुखवद् कोई ॥ नउसेरवां जा wifes कहा साहि अदल सरि ae a gery अदल AS उम्मर कड नादं । भर. आहा सगरौ दुनिञ्ाई'॥ परी नाथ कोड् SAC नपारा। ATT मानुस सोन var गोर् सिंघ tafe va बाटा। दून-उ षानि fasts va gery नीर सौर stay दरबारा। दूध पानि aa करद निरारा॥ धरम निञ्राउ चलद् सत-भाखा। दूबर बरौ रक सम राखा। दोद्धा | qeat सबद Bates जोरि जोरि कड् हाय । nit जन जल जब लगि तब लशि AAT ST माथ।॥१५।
१५ - ९६ | सुधाकर-चन्दिका | २९
श्रदल = न्याय । AAA = नौ गर्वा = एक बाद शाद । Whew = न्यायौ । Bret = waa = वाह वाह = प्रशसा । दुनिश्राद = दुनिया मे । नँय = नथ = सियो के नाक का एक श्राग्रषण। पारा = सकता हे। सोन = सोना = खणे । उदारा = उकालते हे = wala हं । गोर् = गाय बेल दत्यादि जन्तु, fare पाल कर लोग चराते है । रंगहि = tad हं = चलते ह । नोर = जल । खोर = चोर = दुग्ध । निरारा = श्रलग । frags = न्याय । बरौ = बलो । गांग = गङ्गा । जउन = यमुना ॥
(शेर शाके aaa a) vat F Fer न्याय ar = उस को कता ह, कि चलते मे को$ ae at a नहं sa Sar Fn जो कि नौगेरवां न्यायौ कदा गया हे, प्राह (गरेर शाह) के न्याय कौ बरावरौ में वह भौ नरौ डे, चर्यात् Tet शाह नौगेरवांसेभौ धिक न्यायो ou उमर (जिस कौ wal १२९ वंदोहेमें करश्रायेह) के Rar (iq शादने) न्याय किया। सगरौ (सव) दुनियाँ में are च्राहा हो गया, अर्यात् जहां देखो तदहं we के न्याय के प्रसा कौ wfa St ररौ Fu (राह a) पड (गिरौ) Sk नय को atk (ठाना तो दूररडे) | नहीं सकता। मागमे मनुव्य लोग साने का garad हे, श्र्थात् Wa WM लाकाते ये चलते ह, परन्तु feel कौ सामथ्ये aay कि DA We ओर सिंह एक-रहौ वाट (राह) में चलते F, श्र्थात् बाद शाद के न्याय के भयस श्रापस का वैर भाव सव कोड fea F । देनं (गोरू आर सिंह) एक-रौ घाट पर पानौ Ta Sy (गर शाह) दर्वार में ay Are gu कौ कान करता =, (ter art करता हे कि) दूध पानौ. सब श्रलग श्रलग कर देता हे, श्र्ात् Se दूध में पानो fare जाने से दूध-हौ Par समञ्च पडता रह, उसो प्रकार जिस Bras मं 2 Mt सच दोन मिल कर सब सच हौ wag पडता डे, avi भौ खूब कान कर सूठ Mt सच्च श्रलग श्रलग कर डालता Sl Wa न्याय WT सत्य-भाषा (सत्यवचन) से चलता S1 दुबल रार बलो का एक सा रखता FI
aq vat (geal परके सब लाग) दाय जार जार कर श्राशौर्वाद देती F, कि जब तक NPT AT यमुना A जल रहे तब तक TE ST माथ (सव के मस्तक के VF)
SB WAT TSU WAR ASUS |
पुनि रुपवंत बखानड कादा । जावंत जगत BAT मुख चाहा ॥ ससि avefa जो दई स्वाँरा। ae चाहि रूप उजिच्ारा॥
xX पदुमावति | १ | असतुति-खंड | [१६
पाप जाद् जड दरसन दौसा। जग ज॒हारि कड Sz असौसा। AT भानु जग ऊपर. तपा। waz रूप ओहि आगद् TT अस भा खर yea निरमरा। छर चाहि दस आगरि करा॥ ase fefafe कड् हेरिन जाई। जद Ber at रहा सिर as रूप सवाद fea fea veri बिधि सुरूप जग ऊपर गढा॥ दोषा | रूपवत मनि माथड् चांद धारि sife ate | मेदिनि eta लोाभानौ असतुति बिनवड ठाडि veda
रुपवत = RIAA | कादा = क्या । चारा = wear F1 चउद् सि = चतुर्दश्नौ । ats = चय कर = 4S कर । दौसा = देखा । जुहारि = प्रणाम = सलाम । श्रागरि = श्रया = श्रेष्ठ । UWE = सेह = BAT । हेरि देख) मांयद्र = माथेमे। चांद = चन्द । मेदिनि = मेदिनो = प्रथ्वौ॥
फिर (वद) tar रूपवान ह, कि क्या बखान ae) जगत मेँ जितने aw ॐ, खव (उस के) Ga A wea हे ॥ ag A चतुदेभौके चन्रमाका जा बनाया हे (प्ूणिमा के चन्द्रमा मेँ विशेष कर के कलङ्कः देख पडता डे दस लिये avi उसे कोड दिया हे) तिसखसे भो बढ कर (उसका) उच्ज्वल रूप डे॥ यदि दभन She पडा, श्र्थात् उसके रूप का SUA VT गया तो पाप चला जाता Fi जगत (जगत के सब लाग) सलाम कर कर के (उसे) Bate देता Fd जेसे जग के ऊपर GA तपता S (उसो प्रकार यह भो तप रदा डे, दसौ लिये) उसके श्रागे सव रूप fea wary tar (वह) ax नाति वा वदहदाद्र श्रयवा सूयं निमेल पुरूष em, कि सूर से बढ कर दश्च गुनौ (उस मे) अष्ट कला डे ॥ ( पदलौ चौपाई मेँ fre सूर के गण करना वदो दूसरी में भो क्रम से लेना चादिए)। सामने दृष्टि कर (वद) देखा नदो जाता। जिसने दैवा वद भिर yar कर रद गया॥ (उष का) दिन fea सवार रूप Yat FI TET A उस का सुन्दर रूप जग के ऊपर गढा है, श्र्थात् wa से as कर बनाया F
war रूपवान डे कि (उसके) माये में मणि (ज्योति) Fi (जा बहत रूपवान् डातादे, उष का मया Bar चमकता ई, मानें उष में मणि ₹े)। उष के (रूपके) बाढके श्रागे चद घट गया।
१६९ -९७ | सुधाकर-चन्निका | २२
मेदिनो (wat पर के लीग) (उसके) ana के faa लुभा गई, खड हो कर
( उख at) स्तुति at विनय करतो रै, शर्थात् बडे विनय से उस के स्तुति करती Fue el चयार |
पुनि दातार दद बड ater] अस जग दान न काट Sher
बलि विक्रम दानौ बड az) हातिम करन तिञ्चागौ az सेर साहि सरि पूज न कोऊ। समुद् सुमेर घटहि निति दोऊ॥ दान डांक बाजद दरवबारा। कौरति गई समुदहौ पारा ॥ कचन परसि at जग apa afte भागि दिसंतर ass i जड कोद जाद रक बेरि माँगा। जनमह ws न भूखा alah दस असमेध a sz कौन्हा। दान ga सरि Ms न दौन्हा॥ दोहा | अदस द्ानिजग उपजा सेर साहि सुलतान। ना BA VST A हाहौ AT ATE SE अस दान ॥१७॥
विकरम = विक्रम, भ्रवन्तौ का प्रसिद्ध erat राजा, जिसका संनत् चलता 31 दहातिम = मुसलमान म प्रसिद्ध दानो । करन कणे, भारत का प्रसिद्ध दानौ |) fast = त्यागी डाक = SEI) दिखतर = दे णन्तर । Wea = WAR | जग्ग = यज्ञ । पुनन = पु ॥
फिर ईश्वर ने (9a Fr) set भारो दाता किया रसा दान जगम किसौ ने नहो दिया ॥ बलि (पाताल का राजा जिस से भगवान् वामन-खरूप हो कर साढे तौन पेर मि मगो थौ) ओर विक्रम बडे दानी ये (= श्रे) हातिमत्रर aa a भौ लोग - त्यागो र्यात् बडे दानो HST ll परन्तु शेर शाह At बराबरो मं के नीः gear) ( जिसके दान के श्रागे) समुद्र चार सुमेर देनं नित्य घटते हे, aula wai के दानसे wax, भार Baw के दानसे सुमेरु, नित्य घट रहेहै॥ zat a दान का wer बजता डे, ओर समुद्र के पार AEA (उख कौ) चलौ WE उस खर का परसि (स्पशं कर) संसार कञ्चन (सेना) डा गया, दस लिये दरिद्र भाग कर देशान्तर मे चला गया, WUT दख के राज्य से निकल कर cat राज्य मं चला गया ॥ यदि WE जां कर (उषसे) एक aT भो माँगा, तो फिर ae HA AT war AT am a SA |
९४ पदूमावति | ९ | असतुति-खंड | [१७ - १८
जिसनेदश्र way oy का कियाडे,साभो (उसनेभो) दानपुण्छमेंद्सकी बराबर wel दिया, श्र्यात् नदो किया ॥
शेर WE सुलतान (वाद् शाह) sat A tar टानौ उत्पन्न श्रा, fa cw के Bara ark BA, न केदै Bom, We a AS Far दान Bar (दद् =देता हे) iron
GSUTE | सदअद असरफ पौर fas az मोहि पंथ दौन्ह iran aa दिद पेम कर aarti vat जोति भा निरमर Sars मारग हृता धेर SAAT भा अजोर सव जाना aaa खार समुद्र पाप मोर मेला। बोहित धरम whee कड चेला ॥ se मोर afta पोहि कड् गहा। पण्ड तौर धाट जो Beh जा AE BIZ AWA कनहारा। ता कह गहि लंड Alay पारा। ZANT गाढे कड साथी । जदह अउगाह देहि तहं erat a दोद्धा | azine वेड चिसतौ निहकलंक जस aici वेद मखदूम जगत के BS TERT बांँद्॥१८॥
सद्अरद् =सेयद् | श्रसरफ श्रश्रफ ) पिश्रारा~=षारा। पेम=प्रेम | दीश्रा = दौप=दौया। ता==या। समुदर =समुद्र्। मेला = डाल fea) वेदित वङौ माव । चेला = fra करिश्र==क्डोजा नावको खोचने के लिये नाव में लगौ cea =, कड के वदते Bare लोग कोटौ aaa खोचनेके लिये cat a लगा लेते ह जिसे गोन कते दे । श्राज कल लाग उस Sis A ata कते, जा किखेनेके लिये नाव के श्रगल aa H ater रहता इ । पोटि AT = पुष्ट कर् के = मजवृत कर के | गदा = पकडा । कनदहारा = कणेधार् = पतवार को पकडने-हारा । दस्तगोर = हाय पकडने-वाले = रचा करने-वाले | ABUTS = अवगाह = च्रगाघ = HUTT । ETAT = हाय। AUNT = एक azat | faadt= एक qeuarat को जाति । निदहकलंक = निष्कलङ्क । सखदूम = मालिक = खामोौ | aig = बिना तनखाद का SHAH I
वादग्राद को श्वर का BW wa कर, कवि ने पले azure का बणेन किया, Bq WA गुरू-वरो का वणन करता Z il
१८ - Xe] सुधाकर-चन्त्रिका | २५
सेयद श्रश्रफ प्यारे पौर (गरू) ये, तिन्ह ने मुद् को उज्वल पन्थ दिया, अर्थात् ईश्वर कौ स्तौ राह में प्रदत्त feat (मेरे) दयसे (श्र के) Fa aT Aer वार दिया, (जिससे) ज्योति sat रार दय fade Bt गया॥ जो मागं श्रद्ध जेर SAT या, वह Ga हो गया, (मे) सव He जान गया तरर wag गया ॥ (उन्दने) मेरे पाप को at समुद्र में डाल दिया, Ae (qa) चेला कर के auiq शिष्य बना कर धमे-रूपो नाव पर ले लिया, अर्यात् wer लिया॥ get ने मेरे (नाव कौ) कड को मजवृत कर के पकडा, (जिस कारण) मे तौर (तट) को पाया जाँ कि घाट urn fara at Bar कणे-धार हो, तो ae कण-धार faa को पकड कर, ले कर पार wat Tat Sil वह हाय पकडने-वाले रार ms के (संकट समय के) साथ F । चरर जहां were S तहां हाय देते ह, अर्थात् इवत समय aaa हाय को फैला देते ह, जिस के श्राधार से दंबने-वाला बच जाता हे ॥ उन al पद्वौ जहांगौरभार जाति fat 1a से निष्कलङ्कः डं, जेसा कि चन्द्र (दुद्रजका)। वे जगत् के खामो FH उनके घर का विना रुपये पैसे का cea Suet ASUTE | तेहि धर रतन wa faratr eit सेख सुभागड भरा॥ तेहि धर zz दौपक उजिच्रारे। पंथ देड ae दईं Aart ॥ aq मुबारक पूनिड करा । aa कमाल जगत. निरमरा। द् अड अचल धुव Safe नाहौ । मेर fates fay उपरादौ ॥ ate रूप अड जोति tras । ate खंभ ce जग कड् ताड ॥ ge wa tat सब महौ । cee भार सिसिटि थिर cat जो द्रसद AI परमद पाया । पाप इरा निरमर wz काया॥
दोहा | मुहमद् avi निचित पथ जेहि संग मुरसिद् पौर । जेहि रे नाउ अउखेवक बेगि पाड सा ath een
Saag = सुभाग्य । परेव = भ्रुव-तारा a= fae धिर = खिर । पाया = पैर । । |
२६ पदुमावति । ९ | असतुति -खंड | [१९९ - Re
हरा = हर गया == नष्ट दो गया । मुरशिद = गुरु । पोर = महानुभाव नाउ = नाव। खेवक = VA -वाला | | faa के (सेयद् ancy के) घर मे, एक निमेल Ta, सुभाग्य से भरे, TE हाजो BT II तिन के (Ha ents) घर्भं, देव ने (श्वर ने) (जगत् को) पन्थ देने के लिये दो प्रज्वलित दौपक बनाया, चर्यात् उत्यन्न किया॥ एक का नाम te मुबारक, जिन at gitar के चन्द्र वो A कला (भोभा) थौ । get शेख कमाल, जो जगत् में निमेल ये, चर्यात् जिने एक भौ अवगुल नदौ etn दोनेँ ya के TB ava (स्थिर) stad नहो चे, र्यात् चलायमान नदौ होते ये । मेर् जिम के ऊपर TUT ya, ANT खिखिद, कु खण्ड, जिस् के ऊपर ट्किण ya ह, तिन cat gest A ऊपर दं) गोसादै (Sc) ने (stat at) aa 2c ज्योति दिया, Are तिन stat at जग का Gar fear (fat ने) इन्दौ avai खंमांसे ख्व मरौ (gat) को रोक रक्वा, इन्दो aati के भारलेनेसे ष्टि fact wey Fn जो दैन करे र (इनके) चैर को कए, उन का (जानो) WT AE द्ये गया, रार काया (IT) निमेल दो गद ॥ मुहम्मद कवि wea =, कि जिखके संगमे (BB) महानुभाव गुरू Bi, (वद जहां St). aei-w निन्त पय डे, ्र्यात् उम कौ राह मे fal बात का डर नहो । क्योकि (रे मन) faa at ara Be खने-वाला रै, सो (वह) Wha Ae at पाता, अर्थात् wie पार St जाता Fy यां रे नौच-सम्बोधन ड । .भरैर गुर् को खेवक ओर qa को नाव समदना चादिए॥ दम sts Bit दम के पिले दोडेसे as F, कि daz any मलिक Feat के मन््र-गुर्ये॥ rc ॥ च पाई |
गुरु मोादिदी खेवक मड सेवा। चलद् उतादल जेहि कर खेवा । AYA WI सेख yea पंथ लाड जेहि se fray अलददाद् भल तेहि कर गुरू । ea gat Tea सुरुखुरू ॥ सइच्रद मुहमद् के वेद at. fay yaa संगम az खेला॥ दानि्ाल गुरु पंथ लखार। हजरत खाज खिजिर az पार। भए परसन जाहि हजरत WIA) WE ATT जह सद्द राजे। रादि सउ as पाईं जब करनो। उघरौ जभ कथया कवि बरनौ॥
2°] सुधाकर-चन्िका | २७
दोद्दा |
az सो गुरु हउ चेला निति बिनवड भा चेर। Sife हत देखड पाण्डं दिरिस गोसाई केर ॥२०॥
Sata = We! खेवा = बोद् से भरो नाव । श्रगुञ्रा = श्रागे | पंय = राह = मत। भल = श्रच्छे = भ्रष्ठ = भले । रोसन = प्रसिद्ध | Gage = सब के प्रिय । परसन = प्रसनन । acu = मिलाए । करन = करण = योग्यता = लियाकत । उघरो = खुलौ । बरनौ = वणन किया । चेर = चेला = दास । दिरिष = दृश्य = देखने-योग्य षप ॥
खेवक रूप जो मोहिदौ (सुददिउटौन) जिनका खेवा aya wis चलता, मेने उन को सेवा किया॥ मोदिदौ के agar, श्र्थातृ wy (गुर्), Ha बुरहान इए, fai ने जिस at (मोदहिदो at) (aaa) पय (मत) में लगा कर ज्ञान दिया॥ तिन के (शेख बुरहान के) BRP गुरु श्रलहदाद (श्रल्हदाद) ये,जो कि रौन (घमं) मे श्र्यात् wa % विष्रयमें दुनियां twa (प्रसिद्ध) भेर सवं-प्रिय ये॥ बे (श्रलददाद ) dae सुहम्मद के चले ये, fart ने fag-qest के सङ्गम (समाज) मे खेल किया था, waa बडे बडे fagi को ay श्रपनो सिद्धाश्से कका दियाथा॥ उन को (सेयद् eae को) दानियाल ge ने पय (मत) को दिखाया, faeit ने (दानियाल ने) waa खाज fafax at पाया, श्र्यात् उनसे दानियालको He Bt at ea wa खिजिर उन से (दानियाल से) प्रसन्न SU, We wet सेयद राजौ (सेयद राजौ हामिद शाह) ये, वहां ले जा कर (उनसे) मिलाया, श्र्यात् दानियाल को सेयद् राजो का शिष्य बनाया ॥ दूस प्रकार कौ UR WATT A जो मेरे गुर मोदिदरो F, उनसे जवम ने योग्यता को पाई, तब जौभ खुल, भार कवि (में)ने कथाका ada किया॥ श्र्थात् उन के प्रसाद् से कवि श्रा, MT कथा (पदुमावतो का Turd) बनावने कौ शक्ति ई ॥
वे मोदिदरौनजो डं, सो मेरे गर्ह, भे (उनका) चेला ह, नित्य (उनका) दास et कर विनय करता &, अर्यात् vay उन al स्तुति किया करता हं। Tey से, श्रर्थात् उन कौ जो छपा थो, उसो के प्रसाद से, Pat का दृश्य रूप देखने पाया, श्रर्थात् vey away aa भो fag दो गया॥
मुसलमान लोग मलिक मुहम्मद at निज्नासुदौन भालियाके fre com FH aa है । दसो लिये मलिक मुदश्मद को fafear निज्ञामिचा aed ड । जिज्ञामुदोन भेलिया
रए पदुमावति | ९ | असतुति-खड | [२०
मोर watt का विद्या-गुर् था। यद सन् ९३२२५ fo HF मराडे। दस का चेला facet, Are सिराजदौन का चेला शेख ॒श्रलाउलदक्त था । च्रलाउलदक्त का युच भार भिष्य, TSE का नूर कुतुब waa a, जो कि सन् १४१५ & में मरा इे। ्रलाउलदक्त का दूसरा शिष्य सेयद् ्रश्रफ Teale था faa at चर्चा १८ वे AV मे कविने किया 31 सेयद् ance का बडा प्रसिद्ध fue te unt ai शेख दाजोकेदो भ्ये एकं का नाम शेख मुबारक, दूसरे का शेख Fara) शेख नूर कुतुब Waa ओर सेयद BG seit stat गुरूभार्ये, Are ca stat at च्राटवौ Wet मे मलिक qene EU ह ॥ मुसलमान लोग दस प्रकार से इन के गुर् परम्परा को लिखते = ।
निजामुरौन ओलिया (जो सन् १३२५ ३० मे मरे) | सिराजुरौन |
परख अलाउल TH ।
क SE a ee
(0
“Sane, हमीर uate का रेख कुतुब आलम | GAT AULA ज मानिक UX का Te Tugel | Te हाजो | zs a + व संयद्-राजो हामिद ATT | Te सुबारक। La कमाल |
Re दानियाल (जो सन् १४८६ Fo मे" मरे) | सेयद् HSA | शेख अल्हदाद् | QE बुरुद्ान | Ta मो ( मुह्िउदीन ) | मलिक मुष्टम्मद् ( जायस के) | दसं गुरु परम्परा से र ग्रन्य-कार के लेख से aya भेद हे। लेखसेतो we $ fa मलिक Gene के मन्त्-गुरु सेयद श्रश्रफ Ae विद्या-यर AeA ये॥ कालपो जो कि वुन्देल-खण्ड मे हे, वरा के रहने-वाले Te बुरहान धे। Tar सुना जाता, किये सौ वेके हो कर coo दिजरौ सन् (घ.१५६१९-६३१०) मेः artsy
२० - २९] सुधाकर-चन्दरिका | ९८
eat के प्रसाद से जव मलिक मुहम्मद प्रसिद्ध कवि EU, तब saat प्रशंसा लिखने को तयार इए, Tel at श्रपनौ प्रशंसा करना केवल श्रभिमान-सुचक F ॥२०॥
चपा |
wa नयन कवि मुहमद् गुनौ। als बिमोहा जड कवि मुनौ ।॥ चाँद जदस जग विधि अउतारा। ate कलंक ale उजित्रारा | जग सभा WHE नयनांँदा। उच्चा हक जस AGA माहा ॥ जउ लदहि आं बहि डाभ न होई तड ie सुगध sale न AE ॥ कौन्ह समुद्र पानि AT खारा। AT अति ws अलम अपारा॥ जड सुमेर् facta बविनासा। भा कंचन गिरि लागु अकासा॥ जड लहि धरौ कलंक AGT कांच हाद नहिं कंचन ATTN
दोषा |
रक नयन जस दरपन अड तेहि निरमर भाउ | सब रुपवंतद् पाडं गहि मुख sete कड़ चाड I २१॥
विमोदा = मोहित St mar) श्रउतारा = ्रवतार feat) नयनांदा = नयन से = Rig से उश्रा == उद्य SM! सूक = WARIS! माहा = मध्य =बोच। अंबहि=श्राम मे'। डाभ = दमं = कुश के Tar बौर वा aA | बसाद = बाखा जाता SO तिरखल = चिश्ल | चाउ = चाड = TT ॥
( यद्यपि) मुहम्मद कवि को एकरौ नयन डे, (तौ भौ ) (qeaz) एसे रणो F, कि faa कविने (दन कौ TH को) सुना aS मोदित St गया। कवि का अ्रभिप्राय ड कि यद्यपि ¥ दोषौ = (काना VF से), तथापि va} दोष के साय मेरे मे यद् बडा भारौ gus, fa मेरौ कविता को जो सुनता F सोई ्रानन्द से मोदित दो जाता ॐ॥ रेषा परम्परा से प्रसिद्ध है कि शौतला माता के निकलनेसे टन कौ एक आंख मासे गई, ओर चेहरा भो खराब दो गया। एक वार एक TT A vA को न पचान कर, महा कुरूप मुख को देख कर, बडे स्वर सेकु व्यङ्ग बचन सुना कर Cal, Ta पर दन्दो ने बडे धेयं से उत्तर दिया fa “मोहिं का ₹ंषसि fa atecte,” श्र्थात् ga
२० पदुमावति । १ | असतुति-खड | [२९
ead हो, या कोदार को (faa + मेरौरेसो-रो ash as 2), दूस पर उस राजा at Tar ज्ञान हो गया, fa उसौ-त्तण दन का fra wa ॥
नद्या ने (qeaz को) जग मे sar चांद है रेसा-रौ ्रवतार् दिया ३, कलङ्क दिया तो saga भो किया (जिस के प्रकाश से जगत् उज्ज्वलित होतार), कवि का अरभिप्रायरे, कि जेसे चन्द्रमा में कलद्-रूपौ दोष, उसी प्रकार काना होना मेरे A दोष
ny
जिस प्रकार जगत् को प्रकाशर करना यह चन्द्रमा मे गुण, उसो प्रकार मेरो कविता-दारा जगत् Al जो Mae दोना, यदह मेरे मे गुण Fn (सुद) एक-दो Big से जग (भर) ay पडा, श्र्थात् wat को दौ aia होती 3, 3 A कोश्र aa A eR को नरौ देख सकते, MT A va-F sia से ay at को देख लिया। जेसे agai के DWF ua उदित = (oat प्रकारमें षंसार Bata F Ta मं उदित H) | वामन भगवान को जव बलि ae ata ut afa ela Jal रदा, उस समय उसके गुरु शक्र fay करने के लिये जल at दयार में श्रा बेटे । सकनप करतौ समय aa से जल न गिरे, तब कौतुक भगवान् ने HIT J get के टोटौ को साफ करनेकेव्याजसे Ga कौ ददन gia ate दिया, यह प्रसिद्ध कथा = II
wa क्तौ उपमा से जान पडता =, कि कपि कौ दहनौ aia फूट at कवि का अभिप्राय =, कि जेसे सव aaat के नौच काना gael अधिक प्रकाशवान् है, उसौ प्रकार जगत् के लोगोमे मे सवसे प्रसिद्ध Su जव तक ara W बौर (ABD) नहीं होता, तव तक वद BTA सुगन्ध से नहो बासा जाता ॥ Wa के aq sa at Sz कद कर बौर उत्पन्न Mat Si दस लिये ee दो जाना यद ste ew, तो gal के साय सुगन्ध से वास जाना, यह गुण ह्श्रा॥ (Ag! +) जो समुद्र का पानौ खारा किया, (तो sat Raa) समुद्र अत्यन्त श्रद्ध चार wat EA (जिस के समान कोई नीं दे) जो चिशरन से gaa नष्ट किया गया, श्र्यात् उसका Ta Alar गया, तो उसौ के माय वह ata का GETS हो गया, Ae (इतना Har war कि) च्राकाग्र मेँ लग गया॥ पुराणै में कथा S कि पले पाडा के चिडिर्यो के Tar पच eta ये। ga BF उड कर Asi Wea ये avi जा कर Aaa लोगों को woe art sa F) इस पर इन्दर नेवच् से सबके gat को काट डाला। सव से परले BAR का पच्च काटा गया, WT उसके श्रनन्तर उसने ast बडा पाई। दस लिये Gees का ग्रहण कवि ने किया इन्द मे ag al ala समावेश न होने से चिश्रल-हौ को रख दिया ॥
२९ — २२] स॒धाकर्-चन्धिका । २५
(<4 सब दृष्टान्ता से यह we होता =, कि) जिस घडो तक कलङ्कः (किस प्रकार का एक दोष) नहं पडता, तब तक कांच (बे-गुणका मनुष्य) सोने के खूप (श्रादरणोय रूप) नरो होता ॥ ।
(मेरो) एक aia ta} ई जेमा cua (asa), जार तिस cau का निमेल भाव ड, waiq जेसे निमेल दपण का खभाव दहै, कि पण्डित वा चाण्डालजो उसमे देखे, aq का प्रतिविम्ब set का तेसा देख पडता हे, तिसौ प्रकार मेरे नेत्र में aq लोगों Al ea Sar का तेसा देख पडता Su (यद्टपिमे काना हं तथापि) सब रूपवान् लोग मेरे पेर को पकड़ कर इच्छा कर के (मेरे) मुख को ster (चुप चाप देखा) करते = ॥ कवि का सिद्धान्त =, कि विना एक दोष ए गुण नहीं उत्पन्न होता दमौ faa दूष ने gaa दृस्ग्रन्थमे भौ चौपादत्रांकौदोचोकडौ के aa, लंगडा कर, सात-रौ चैर रक्वा, ओर दोद्धेके माचा at A प्रायः घट बढ कर दिया। ca H ग्रन्थ-कार का यदह श्रान्तरिक ्रभिप्राय र, fa मेरे भक्त लोग तो मेरे ग्न्य at sec से पठे-रौंगे, परन्तु दूस प्रकार का TY W दोष रदने से मेरे प्रतिस्पद्धौ लोग भौ हास्य-वृद्धि aca पटेगे । दरस प्रकार मेरे Tey का VIA प्रचार दो जायगा ॥ २९॥
चपा |
चारि मौत कवि मुहमद् ure) जोरि मिताई सरि wear युसुफ मलिक पंडित अड ग्यानौ। पहिल मेद् बात वेड जानौ ॥ पुनि सलार कादिम मति-मांहा। खांडद दान उभद् निति बांहा। fast aaa सिंघ sore! बौर खेत रन खरग Fae | सेख॒ बहे बड सिद्ध. बखाना। we wea fags बड माना | चारिउ चतुरद्मा गुन प्डे। अड संजोग गोसाई गडे॥ बिरिखजोा आहि dea पासा। चंदन होदि बेधि तेहि बासा॥
Stet |
मुहमद् चारि-उ ata मिलि wp at waz चित्त । एहि जग साथ जा निवहा ओहि जग विद्धुरदहि fad vee
मति-मांदा = मतिमान्। SAX = उभडतो हे = उठतो Fl खेत = चेच । रन = T=
रर् पदुमावति । ९ | असतुति-खड | [RR
UFTA | FATE = योद्धा = यद्ध करने-वाले । श्रदेख = श्रादेश = AA! चतुरदसा= चतुदश = चोददह। संजोग = संयोग = सङ्ग । विरिख = ठच । श्राङदि = अ्रच्छा । बेपि = fag दो कर । बासा = सुगन्ध । faa = कुतः = क्यौ ॥
मुहम्मद् कवि ने चार faa को पाया, ( जिनसे) मितादे (मिता) को जोड कर (अपने को) उन कौ बरावर मे पञ्जचाया॥ प्रथम faa मलिक see, पण्डित AIX ज्ञानो ये, (रेसेवे ज्ञानो ये किं खव से) पले arat ar भेद जान जाते ये ॥ किर दूसरे मतिमान् (वृद्धिमान्) सलार कादिम ये, जिन कौ ate नित्य खंडे मे ( तलवार चलाने मे) चार दानमे (दानदेने मे) उभडतौ डे श्र्यात् saat F1 तोसरे सलोने भियां ये, जो अपार वौरोंमे सिंह ये, रर Teas मे खद्ग-योद्धा ये, श्र्यात् तलवार से लडने-वाले Yi उनके Tar ats तलवार asl चला सकता था॥ aa faa प्रेव a2 ये, जिन at लोग बडा सिद्ध बखानते दै, जिन के आदेश (आज्ञा) को कर के fag लोगों नेभौ (श्रपनेको) वडा माना॥ चारो मिचचौदहो गण (विद्या) को as a (चार az, क Ferg, पुराण, मौमांसा, न्याय, जार धमे-शास्तर ये-रौ चौदह fast =), ओर Sat A चारो का एक संयोग (सङ्ग) ASI था, र्यात् बनाया या॥ Gent चोपाई मे जो लिखा हे कि मेने उन से faa को जोड कर, अपने को उन कौ बरावर A qa, दस से उनके समान होने में श्रपना सामथ्यै प्रगट श्रा, उसका निराकरण करने के लिये यदह fasat चौपाई लिखा डे, fa मेरे मे ge सामथ्ये नहो, fa उन के बरावर Be, किन्तु जो za श्रच्छा ( बदि्या) चन्दन के पास होति =, बे चन्दन के बास से विध कर श्राप चन्दन दो जाते ह। दसमे चन्दन का que, न कि gaat कवि का ्रमिप्राय रहै, कि gal प्रकार उन चारो चन्दन-रूपी fast FR पास cea 3, मेः भो उन्दी लोगों के Tart St गया ॥
चारो मिज से मिल कर qeae जो एक चित्त रहो गये, अर्थात् saad के चित्त मे श्रपने चित्त at भिला लिया, ca लिये (जिनका) दस जग (लोक) मे जो
Nw
साय निवह गया तो (वे) saa मे कदां faesa हे" sata क्यो विकुडंगे ॥ २२॥
श्रव प्रसङ्ग से श्रपने ग्रन्थ के बनाने का दान aed = ॥
२३] - सुधाकर-चन्दिका | रेरे
ASUS | जरस नगर धरम-असथान् | तहां आड कवि ale बखान॥ ax विनतौ पंडितन्द सउ भजा । टूट सवारह मेरवहु सजा॥ €ड सब कवितन्द् कर पट्-लगा। किलु कहि चला तबल ez डगा । fea भंडार नग अदर जो पूंजौो। खोलो जौभ तार् कड जौ I रतन पदारथ बोलो बोला | सुरस पेम मधु भरो अमोला॥ जेहि az बोलि बिरह कड् धाया। कह तेहि aw Me कह aa wT भेस रइ भा तपा । धूरि लपेटा मानिक au
दोद्ा |
मुहमद् कया जो पेम कद ना तेहिरकत नर्मसु! TZ मुख देखा तेद हसा सुनि तेहि राड आंसु ies
्रसथानू = स्थान । भजा = सेवा किया । टूट = टूटा रा = युटि । Aas = मिला- दूये | सजा = साज = गशोभा-योग्य पद् । afar = कवित्त बनाने-वाले = कवि | पक्-लगा = पौढे लगने-वाला = पौषे चलने-वाला = च्रनुगामौ । तबल == तबला = sw । डगा = डागा = Sat बजाने कौ लकड । पूजो = मूल-धन | तार् = तालू वा ताला । क्रुनौ = eat = चाभो ॥ |
जायस ANT जो धमे Al Bla S, तहां at ar at कविने (दूष कथाका) Tara किया॥ uftwat से विनतो कर के (sa al) सेवा किया, (Are कहा कि) टूटा HAC बनाद्ये, AIT दष में साज ( णोभा-योग्य पद्) को भिलादये॥ मै" सब कवियों का श्रनुगामो ह, THT के ऊपर wast को दे कर, sulq sat को बजा कर कुक क चला ह, र्यात् न qa wae ओर न पाण्डित्यं का श्रमिमान ई, दस लिये ag पण्डित ओर कवि wat at FY saat कविता सुनाता, र बे लोग जहां श्रनुचित He उसे मे सुधारने पर प्रटत्त ह) Vel ‘fee कदि चलत बोल दद् डगा` यह पाठ श्रच्छा हे । यद् पाट उपलब पुस्तके मे नहो हे, किन्तु मेरौ कल्पना हे तनिक पदे के BT RTI Par et सकताद्े॥ इसका तव^मे' बोल (वाक्य) रूपौ डग(पैर) दे कर कक
HE चलता हं ', यद भ्रथं इ ॥ दद्य-रूपौ भण्डार मे जो नग पूजो है, जोभ को तालु कै 5
२३४ पदुमावति 1% | असतुति-खंड | [RR
करूजो बना कर उस Tot को (HF ने) खोला यदं पर कवि A श्रपने इदय को भण्डारा, उस मे जो wan पद् पदां भरे ह, उसे नग (रन्न) जो किश्रागे कौ चौपाई से we F, ATS को उस भण्डारे का ATT ATT उस ताले की BST ( चाभो ) जोभ को बनाया हे दरस प्रकार से यदा रूपकालङ्ार F I
नेक जो बोलो बोला (कदा) हे, वेदै रत-रूपौ पदायै ₹ईँ । वे बोलियां केसो ड ? fa प्रम-रूपो जो सुरस (Gare रस) मधु (ग्दद्) उससे भरौ F, wat लिये श्रमूच्य = ॥
Ga 8 tat ar ara डे, जो कि श्रमूच्य डे? TH कदाचित् शङ्खा हो, तो उस के faa श्रागे प्रेम का Areal कहते हे ॥ जिस को विरद के बोलो का, श्र्थात् प्रेम का, घाव लग गया, तिष को wei शष, कदां नौं द, ओर कां काया (विभ्राम) डे ॥ ae पुरूष qua भस (वेष) को फोर लेता ई, श्र्यात् श्रपने खूप को fear लेता 3, भोर तपसो (तपा) दो कर रहता हे। (उष कौ) Vat दशा दो जातौ ह, जसे धूर से लपेटा माणिक्य feu दो ॥ यहां कवि का ae श्रभिप्रायङडई, fa st प्राणी प्रेम-मय दहो गया, वद माणिक्य रन्न केेसाद्े। ae wa a खो जाय, दस लिये वद संसार से विरक्त दो, वेष बदल कर, तपसौ बन कर रहता इ ॥ |
geng कवि कते ह, fa जो प्रेम at कया (काय WaT) ईहे, faa dH a रक्त टे, न मांस डे, श्र्यात् श्रस्थि-मात्रदे, क्योकि ऊपर लिख wa ङे, fa ia कोन az, a aig, न fase, कुक At नहो दोता। दसौ लिये शरोर का रक्त मांस गल जाता S| केवल श्रखि रह sat Si दसो लिये fae ने उस प्रेमो का gu देखा, तिस ने रहस दिया) सने का तात्य यदह, किं लोगों ने उस को acer समञ्च लिया ह । (उन के हास्य को) सुन कर, faa Fat at aie (श्रशरु)श्राजातौ 3, चर्ात् va Fat कौ दष्ट तो सवेदा उस प्रेमदो कौ MTS; केवल कान से उन लोगों का WETS वचन को सुन कर, वह रोने लगता, कि हाय जगदिषिच्र हे, जिस मे प्रेम नरो वह भो कोड पुरुष ३। सो gaz ये बौर gal को बौरदा wag waa F ॥ यहां प्रेम B Sgr के चरणे श्रलुराग दोना Si श्रयवा तिस walt का sara सुन कर्, fa यह ईश्वर-चरणानुरामौ पुरुष ई, Wa से उस रंस्ने-वालँ को ग्लानि सेश्रश् श्रा जातो 2, कि हाय दाय विना समद्र मे ने दसा, श्र्थात् दंस कर श्रपने WOT को कलषित किया ie ey
28 | पधाकर-चन््िका | रभ
चडपार | सन नउ UE सदतालिस अहे। कथा अर्भ वयन कवि ae सिंघल-दौप ugfaat रानौ । रतन-सेन चितउर गढ आनौ" अलउदोन देदिलौ gaa) राघड-चेतन ale बखान् ॥ सुना साहि गढ छेका आई । fez तुरूुकन्द ut aut ॥ आदि sia जस गाथा aeti लिखि भाखा aware wet ॥ कवि fasta रस कवला पूरौ। git सो fant frat ar ga निञ्ररहि git फल जस कांटा। दूरिजोा नि्चरहि जस गुर चाँरा।॥
Stet |
भवर HZ बनखंड सड लेड कवल रस बास। दादूर बास न Was Hats AT WAT Wa | २४॥
इति असतुति-खंड ॥ १॥
नउ सद् = नव से सदृतालिस = सेतालौस। श्रे = ये । गाथा = कथा = इतिहास । विश्रास = are = ot किं कथा पुराण बाँचते ह| HAM = कमल । गुर = गड । भवर = भ्रमर। दादुर = ददुर = मेघा | भलि = भलो-भांति से = अ्रच्छौ तरह से। wax = प्नोभित 31 पास = पाश्वं = निकट ॥
जव कथा के श्रारम्भ का वचन कवि ने कदा, श्र्यात् जब कविने क्या का ्रारम्भ किया, उस समय दिजरो सन् नव से प्तितालिस था (सन् १५४० Fat) श्रव day से वाल्मौकि-मूल-रामायण के Ter कथा कौ श्मिका लिखते F, कि सिघल-दौप मेः जो पद्मिनो ( पद्धिनो = पद्मावतो ) रानो यौ, उसे रतन-सेन (राजा रन्न-सेन ) चितउर ( चिचवर) गढ मेले श्राया ॥ राघव-चेतन (एक यक्रि) ने उस पदमावतोके रूपका वणन feat के सुलतान (ateme) श्रलाउदौन से किया ॥ शाद ( च्रलाउदौन) ने प्रसा को सुना, AT wr कर (पद्मावतौ के लेने के लिये) गढ ( चिन्तौर-गढ) को Sa ( घेर ) लिया । fee तुरकेँ मे लडाद दै ॥ दत्यादि श्रादि से श्रन्त तक जेसौ कथा थो, सब भाषा चौपाई लिख कर कदा Fi कोई लिखि दोहा चौपाई we’ एेषा
२६ पदुमावति । ९ | असतुति-खंड | [Re
पाठ Hea हं ॥ भाषासे, कविके Sa कौ भाषा समद्मना, जिसे दम लोग श्राज पुरानौ Bay को भाषा कड सकते हे ॥ जन््र-स्थान कोड कर, जायस नगर मे कवि Al war, AT वहाँ पर कथाका प्रचार करना, दख पर दृष्टान्त दिखलाते ई, कि कवि, are We रससे पूरौ (भरा SA) कमल, इनसे जो दूर ड वे निकट, ओर जो fans FT F 3 दूर ड, जेसे कटा फूल के निकट-दो हे, परन्तु दूर हे, श्रथात् Ga के गुण को ae ay नौ जानता, नहो तो फूल मे लपट कर रहता re लिये मानें वह फूल से दूर TI AT FY Vet ग॒डके दूर रहता हे, परन्तु निकट-हौ 2, श्र्थात् Wer गुड से श्रन्यच कहो दुर .श्रपनो विल मे रहता हे, परन्तु वायु-द्रारा गुड का सुगन्ध पाते-दौ निकट हो जाता ह ॥ निकट रहने पर FT MT दूर Tea परभौ जो निकट है, दस पर AK एक दृष्टान्त दिखाते हं, कि देखो war वन-विभाग से, अर्थात् awa दूरसे, श्रा कर, कमल का वासलेता S, परन्तु Tet जो भलौ भांति से कमलके wee} शोभित F, उस कमल के वास को नहो पाता॥ कविका भावद्े, कि BAN Ht भाषामे काव्य wad यद्यपि मुसलान् लोग अनादर करेगे, तथापि fey जो स्यसे awa दूर हे मेरे काय का BAST HUT | इमौ प्रकार ae At कविका भाव है, कि मेरे जन्म-स्यान के लोग जो दिन रात मेरौ कविता को सुना करते ये, ae भो श्रादर न किये; Are जायस जो कि दूर डे, ast Fat ने बह्त-हौ श्राद्र किया ॥ दस विषयमे परम्परा से tur प्रसिद्ध दे, कि मलिक मुहम्मद पले VIA जन्म्-खान्-रौ मे Te कर, पदुमावति के दो चार खण्डां को बना कर, गाया करतेये। दनकेसायसायवचेलेलोगमभौ गाते MA उन खण्डां को अभ्यास कर लिये ॥ एक चेला रमते रमते जायस मे पर्चा, तरार जो खण्ड उसे श्रभ्याख था, उस का गाना mica किया। ait ar राजा उस खण्ड at कविता at tar मोहित Ear, कि उस चेलेके साय श्रपने सरदार को भेज, बडे HITT से मलिक मुदम्मद् को श्रपने यहां बुलाया, भरर पूरौ कथा बनाने के लिये प्रार्थना किया ॥ बहत लोगं से ae wt सुना जाता, कि ga Wet को नागमतौ का बारह मासा याद् घा, We Bat Ht Ga A गाया wri Gal पर वदां का राजा मोहित S गया, fay कर बारह मासे के Ta दोहे पर “कवल जो विगसत मान-सर, विनु जल गणड सुखाद्।-॥२४॥ |
इति स्तुति-खण्डं नाम प्रथम-खण्डं समाप्तम् ॥ 2
२१५ | उखधाकर-चन्िका | 38
अथ सिंघल-दौप-बरनन-खंड ॥ 2 ॥
चपर | सिंघल-दौप कथा अब गावडं। अउसो पद्मिनि बरनि सुनाव्ड॥ बरनक दरपन भांति सिखा जो safe eq at azaz देखा॥ धनिसो दौप जह दौपक नारौ। अड सो पदुमिनि दइ अउतारौ॥ सात दौप बरनद सब लोगू। रक-उ दौपन रोहि सरि जोगू॥ दिया-दौप नहि तस उजिञ्ारा। सरन-दौप सरि होड न पारा I जंव्-दौप aes तस amet | लंक-दौप पूज न यपरिदाहौ । दौप-कुभसथल आरन परा। दौप-महसथल मनुस-हरा |
दोद्टा |
सब संसार पिरिथुमौ आर सात-उ दोप। रक-उ दीप न ऊतिम सिंघल-दौप समौप ॥ २५॥
पद् मिनि = पद्मिनो = पद्मावतौ । बरनकं = वणक = वणेन । धनि = घन्य । कुंभसखयल = कुभ्भखल | AVI = मधुखथल । तरार जब गभसचल यह पाड ईहे, तव गभषयल = mae | पिरिथमो = एथिवो । ऊतिम = उत्तम ॥
‘afa करता =, कि श्रव ( स्तुति-खण्ड बे श्रनन्तर ) सिंचल-दौपके कथा को maar ह, श्र्यात् कता ह, भार उस ofan (के टत्तान्त को ) वणेन कर के सुनाता ह्लं ॥ वणेन करने मे, यथाथे बात नौ प्रगट etal. Tal यदि कोई war करे, तहां कते ई, कि
at पदुमावति 12 | सिंघलदौप-बरनन-खंड | as
वणेन एक fade co % भांति ड, दस लिये ot fae aa are, सो तैसा-रौ (ga em #) देख usar Su fang दपेण कने का यह भाव ई कि वतसे रेसेभौ zum होते 3, जिनमे कोटे बडे रूप देख पडते F । उन सर्वो का निराकरण करने के लिये विशेष पद् fear wa सो (वद) दौप डे जहां नारौ (स्रौ-लोग) दौपक F, रथात् दौपके शिवा सौ उज्ज्वल ड, Are जहां पर देव (Fax) ने उस पद्मिनी का अवतार feat स्व लोग wa staat वणेन करते हे, (परन्तु) उस दौपके समता योग्य एक भौ ala नहो Su दिया-दौप चर्यात् सुन्दरौ युवतौ का नेच, तैसा उज्ज्वल नहो हे! सरन-दौप (श्रवण-दौप), श्र्यात् सुन्दरौ का कणे, उस ( सिघल-दौप) के aE Va को समं नदो हे ॥ जम्ब-दौप, श्र्थात् सुन्दरौ के केशर oy, at A कता ङ्ग, कि तेसा ( सिंघल-दौप सा सुन्दर) नहो है। लंक-दौप, श्र्यात् सुन्दरौ कौ कटि, ( faa aia at) aftarey (काया) कौ खषमता को नरौ gaat, walq नरौ पातौ ॥ कवि कता = कि कुम्भस्थल-दौप, श्र्यात् सुन्दरौ का पयोधर, aww (aga) F पडा 3, श्र्यात् fan श्रा हे, दस लिये वद क्या समता करेगा | श्ररण्यसे मुक्ताहार, वस्त्ाञ्चल cafe समदना चादिए। ओर मधुखल-दोप, श्र्थात् सुन्दरौ का Deny, ATE को नाग्र करने-वाला हे ( क्योकि संसार उसो विषय-दष्णा मे पड कर, वार वार मरा करता हे), दस लिये tar दृष्ट पापौ ay क्या समता करेगा ॥ जब गभसयल पाठ हे, तब गर्भसल से सुन्दरो का उद्र लेना, जिसमे वार वार मनुष्य वास करतार, दसौ सिये वद उदर aay को हरने-वाला, श्र्यात् चोराने-वाला BA, तव ay Wr za Ty at क्या समता करेगा ॥ कवि का श्रभिप्राय डे, fa सुन्दरियां के सब उत्तम BE जव उस दीप al समता नरौ कर सकते, तब aet at दौप-श्विषौोनजोनारौ =, उन कौ समता दतर सुन्दरियोंसे करना Bawa हे, श्र्थात् va रौप कौ नारो जार उनके GF अनुपम ईह ॥ जेसे, कया का प्रसङ्ग बेटाने के लिये, पञ्चतन्त्रादि में कपूर-दौप tafe नाम कल्पना कर लिये है, sat प्रकार जिसमे ae et (श्र्यात् दो weet), tar wag कर, कवि ने दिवा-दौप, सरन-दौप, कुम्भ-स्थल, NT मधु-खल, tar नाम कल्यना कर लिया डे। जम्बू चरर ag में श्राप-दो यथं डे दस लिये ca को यथादौ ले लिया ॥ संसार मे" सव प्रथिवौ भर खातो sty wads, श्र्थात् काये इये ई, (परन्तु) सिघलनदौप के समोप (निकट), श्र्यात् उस के साय तुलना करनेमे एक दोपमभौ नरो उत्तम ठदरता Sey i -
२९ | स॒धाकर-चन्धिका | Be
चपा | गधरब-सेन सुगंध OARS सो राजा वह ता कर देर ॥ लंका सुना जा रावन WH! Ae चाहि ब्ड ता कर ATTN छष्यन क्रोड कटक दर साजा। waz छतर पति अड गढ राजा॥ सोरह सदस चार धोर-सारा। साव-करन अउ बँक तुखारा i सात सहस हसतो सिंघल । जनु कबिलास इरावति बलो i असु-पतो क सिर-मउर कावद | गज-पतौ क AHA गज AAT ॥ नर-पतौ FAT Hey नररिदू। भू-पतौ क जग दोसर इद् ॥
दोदह्ा |
अदस WHIT राजा We खंड भय हाई, सबद az सिर नावंहीं सरिबर करद न कोड् ॥ BE I
गेधरब-सेन = गन्धवे-सेन। AL = नरेश । रावन राजू = रान राजा। कतर-पति = कचपति । सहस = सदख = हजार । घार-सारा = घोडे कौ शला = घोटक-शाला | सावं-करन = श्याम-कणे = जिन के सव ay Aa केवल कान काले Bil ata = वक्र = तेज । तुखारा = घोडा | श्रसु-पतो = श्रश्वपति = घोडे पर चठने-वालोां मे we । सिर- aay = भिरो-मयूर = भिर पर मयूर के Tay टोपो । गज-पतौ = गजपति = दाथौ पर चटने-वालेँ मे श्रेष्ठ । नर-पतो = नर-पति = राजा । नरिदू = नरे । at = waa = vat के पति = जिमौदार लोग, जिनके श्रधिकार मे केवल जोतने बोने के लिये ग्मि हो । दद् = TR । WHAT = चक्रवत्तौ । सरिवर = बद == सवाल जवाब ॥
गम्भव-सेन जो सुगन्ध ( सुन्दर गन्धरसे भरा, श्र्यात् जिसके शरौरसे सुगन्ध महकतो ॐ) राजा, सो (वहं का) राजा 3, ओर ae ( सिंघल-द्ौप) तिसौ (राजा) का ey ॐ ॥ लङ्का मेः जो रावण राजा सुनाई, तिससेभो az कर तिस का ( गन्धवे-सेन का) बडा साज (तासे) ई ॥ BMA करोड कटक-दल (सेना का समूह) साजा sar डे, aq (Swat करोड) Safa AT (एक UH) गड के राजाह ॥ (जिनके घलनेमे) सेवक छन के शिर प्र इच लगाते SU चले | (Gea बडे att को यह प्रतिष्टा प्राप्त
(१९) तोसरे रोदे को cay” चोपाषरेणो।
४० पदु मावति | २ | सिघलदौप-बरनन खंड | [रद् - २७
Sint ati) (उसके) घोड-सारमे सोर हजार घोडे हें, (जिन में बहत से) श्याम- कणं ओर बके घोडे है ॥ सिंघल देश के सात दजार दायो है, जानें कैलास ( faa पुरौ, wg यदं दृन्र-पुरौ ) के बरे ेरावत era F । (रैरावत Ba हाथी होता डे, MIU उस पर देवतां का राजा TR VAT दे) ॥ (वह राजा) श्रश्व-पतियों का शिर- मौर Herat हँ, गज-पति्योँ कै गज (erat) को wy से नवा देता हे (सुका देता =), र (भे उसे) Usa at नरेन्द्र (aqat F इन्र), Are ्-पतियौं का दूसरा Sy कता El इन्द्र वर्षां का पति Si w-afaat को wa होने मे वर्षा-रहौीका भरोसा ईै। वह विना ce at aa a नहौ Sat) दस लिये इन्र बनाया Fy ° नरपतौ क aes ag afte’, इस पाठे, यति-भङ्ग दोष डहे। यदि ˆ कद-उं-श्रड " एसा शब्दको काट कर यति बनावे तो शब्दावध दोष eat = I tar चक्रवत्तो राजा F fH wit भागे (प्रवे, प. उ. 2), (उसका) भय होता हे, सव कोद श्रा कर (उसके सामने) भिर को नवाते ह ( स्ुकाते डे"), ओर (उसके श्रागे) कोद सरवर नौ ata Fu rel च पार | जव-हि दौप निच्चरावा जाई। जनु कविलास fast भा art) घन BITS लाग We पासा। उदे yefa हति लागु अकासा॥ तरिबर waz मलय गिरि ae) भद्र जग are रद्रनि होड ATH मलय AAT ASS शँहा | जेठ जाड was तेहि ayer i Bret Bre रदइनि Sz alas | इरि्र सबद अकास Saas | पंथिक जड पहुचड सहि धामू। दुख विसरद सुख ee विसरामू॥ Hz वह पाई aie अनृपा। बहुरि न आद्र सहि यह धूपा ॥ दोद्धा | | अत अंवराठ सघन घन बरनि न Ty sia फलद WE छव-उ रितु जानउ सदा बसंत ॥ २७॥ ` निश्ररावा = नगौच किया । घन = Bw = VT का ढेर । SATIS = श्राब्र-राज = aap जाति का च्राम । जेठ = ज्येष्ठ मरौना । पंयिक = पथिक = रादौ । सघन = गच्छन । कव-उ = दवो | जानउ = जाने = माने ॥
RO — २८] TUNA ASAT | ४९
जिस घडो किसौनेजा कर (सिंघल) दौप कौ ante किया, अर्थात् जव att स्घिल के नगोच पर्चा, (उस घडो tar समदम पडता रै) जानें (वह) आ कर कैलास के ATTA SA चारो रोर (as पासा) श्राग्र-राजके ण्ड लगे हं, जो vert से उठे हे, Me Mar Bar कर लगे EU Sy सव aati मे (जाने) मलय- गिरि (मलय-चन्दन ) लगाया श्रा हे । (उन Tat a) जगम ais दहो as, Ber ( सवच वह छाया) cfs et कर का गई ॥ वह दाया मलय-खमोर (मलय-चन्दन-सदित वायु) से (रसौ) प्ोभित Sk हे, कि तिस के मध्य ज्येष्ठ asa में भौ जाडा लगती Su (कवि कौ उत्प्रचा हे कि निश्चय सम्यो) vet काचा से (संसार में वार वार) रात Bt wat डे, चार (ast काया) सव श्राकाप्र को “fear (इरा) दिखलातौ है, शर्थात् उसौ दाया का प्रतिविम्ब पडनेसे सव stata हरे वणं ar et गया FH यदि घाम कौ सद कर कोद पथिक (वदाँ) ves जाय, at (उसका) दुःख शल जाताद्ध, सुख होता = रार खस्ता (विश्राम) होते Fu fet ने उम अनुपम काया को पाया, बे फिर (ase) (दससंसारमें) श्रा कर दस धूपको नौ सहते दं ॥
tar was का गच्द्िन aw ह, जिसका वणेन कर बे अन्ततक नहो पार हो सकता ह । कवि का च्रभिप्राय रहै कि जिन टके काया वणन F सात Wak हो गई उनके वणेनमे तो संभवद्े, fH एक ग्रन्थ तयार रो जाय ॥ छवो wa ( वदां ) फलतो फरतौ हे, जानें (उस दौप मे) सवेदा वसन्त wa डे । तुतो मे वसन्त छतु राजाह, दस से वसन्त का ग्रहण किया Fy Roi
चपा |
फरे aia अति सघन rete) अड जस wt अधिक सिर az) कटर डार WE सड पाके | बडहर सो अनुप अति ताके ॥ खिरनौ पाकि wis असि aati जाउनि पाकि wat असि Sati नरिञ्चर wt wT Weett | फरौ जानु इदरासन-पुरौ ॥ पुनि agar aa अधिकमिटाख। मधु जस मोद FEU जस aa HVE खजदजा आउ न ना | देखा सब राउन Batis 1
amt waz जस अंत्रित साखा। TSE लाभाई सद् जो Beary 0
BX पद् मावति । २। सिं घलदौप-वरनन-खंड | [a=
ZtEt | TAL सुपारौ जादफर सब फर wt अपूरि, आस पास घनि इविलौ अड घन तार WaT ॥ २८ I
aq = श्रा) नाए= इकाये =) पोड = पड । ताके = देखने मे । जाउंनि = जामुन = अम्बू । ठौ देख पडतो हे । WEB = Bett = कोटे Hs मेवे के aay दरंदराखन = दनद्रासन | चुभ्र = TAT हे । UIA पुष्य । aT = वास = सुगन्धे । खजहजा == खाद्य aa, जिन के फल खाये जाते ड । UH = अ्रमरावतौ = इन्र के aa सा शरेष्ठ वरे चा | Maa = अ्रन्टत । FRI = एक प्रकार को पूवो BIT दइविंलो = shaw ॥
श्रत्यन्त सघन ( गज््िन) wa at हँ रार शोभितं । Are (जो ara) जैसा (अधिक) at 3, तेसा-रौ श्रधिक शिर काये S| तात्पये यदह कि फलसे भरेभो =, at-at ्रभिमानसे रहित Boat aa et गये F (शिष्ट पुरुष के एेसा)॥ HEEL SIT ओर UST से लग कर पके SUS | (TH saat Gel खभावरैकिडार ae UST HF फरता ह) बडहरजो हे सो देखने ( ताके) मे अरति अनूप (अति सुन्दर) ह । (द्सका फल डां मे tar gar रहता है, कि देखने मे वडा मनोर जान पडता =) ॥ पकौ facat ais सौ Ast डे पकौ जामुन भरा सो (कालौ) देख पडतौ Su नरियर we डे, फरदरौ (सव) फरो Fl (दसप्रकारसे) फरौ (वाटिका) tal शोभित ॐ, जानें इन्द्रासन-पुरौ अर्यात् च्रमरावतौ Tu फिर अत्यन्त मोटा मड च रहा दै। (वद), Hat मधु (श्रद्) Mar Wat दे, वेसा मोटा, चरर, जैसा पुष्ये वास होता है, वैसा (उमे) वास (सुगन्ध) Fu Bre जितने खजदजा (मेवे के aq) = जिन का नाम नरौ भ्राता, उन स्वको राव लोगों at श्रमरावतौ (वाटिका) मे देखा ॥ wert मँ सव (फल) रसे खगे ह जेसे waa, (उन को) जो waar F मोई लोभाय रहता = I
Ta, सुपारो, AIT जायफर सव (ट्च) पूर (भर प्रर) wt Sl श्रास पास (sma ara) घनि ( गच्छिन), च्र्थात् बहत, अ्रमिलौ र बहत तार, खजूर (लगे) हे ॥ वाटिकाके भौतर ca Hl शोभा नदौ etal, इस लिये किनारे पर लगना लिखाड॥
aay चोपाई का ˆ नरिश्रर फरे भरौ West) फरो जानु दंदरासन-पुरौ ॥ °
एमा पाठ उत्तम जान पडता दे, तव “नरियर at दे (उनम) WeEd भरौ Fi
२८ - RE] ` सुधाकर-चन्धिका। ` | | ४२
(वाटिका ta} फरौ हे) जानें दृ्रासन-पुरौ (श्रमरावतौ) फरौ दर 3’, यह श्रं करना चादिए ॥ गरो दौ प्रकार कौ होतो है, एक Hel WT खानेमे" नौरस। दूसरौ नमं आर खनेम मोढौ, रसौ MS ओर नम गरो को ‹ खुरहरौ › wea Fess GSUTS | बसहिं पंखि tafe ag भाखा। करहि हलास देखि az ara भोर होत बासहिं चुहिचृह्ौ। बोलहिं पांडकि war qet ॥ सारउ YA A रहचह करदौ। करहि परेवा अड करबरहये॥ fas fas लागद ATE पपौहा। «get तुदौ करि गुडरू ater | Ge Fe करि कोदलि राखा। अउ भगराज बोल बह भाखा॥ दहो cel कद महरि पुकारा। eft बिनवड आपनि हारा | quate मोर सोाहावनलागा। हाद कोराहर बोलहिं कागा॥ दोद्ा |
जावंत पंखि की सब ast भरि अववंराड। अआपनि आपनिभाखा लेहि दई कर नाड ॥ ee |
लास = Gare = आनन्द । बासहिं = Gat के सुगन्ध से वास जातौ F । सारउ = सारा Fal = दूब | रहचह = WIE = श्रानन्द के ब्द । हरहि = कुरकुर करते ह । परेवा = कवूतर = पारावत । करबरहौ = कलबलाते ड = दरधर से ऊधर उडते हे" । भंगराज = स्ङ्गराज | कारादहर = कोलाहल | अ्रवंराडं = Baraat ॥
उस अ्रमरावतो मं पक्तौ aad हं, जो aE भाषा (HAH तरह कौ बोलो) बोलते है । ओर शाखा को देख कर (जिन में aes we श्राये ई कि ‘am सबदू जस afaa साखा ` wuld waa फल लगे है") लास (मनम श्रानन्द) HTT Ty भोर (प्रातःकाल) eta} चदिचुहौ (फूल के रस को खाने-वालो fafear दूस प्रान्त मेः प्रसिद्ध हे, जिसे awa लोग Gagel वा qegel कहते हे ) Ea A रघवे quays बास जातौ हे । चर पाण्ड्को (पेडुकौ जो कवृतर के तरह vat Fi ae a दस प्रान्त में प्रसिद्ध डे) ‘vase ae’ “एक् al’ बोलतो है दस पी A बोस मं रेखो-दौ धुनि जान पडतो दहे ॥ ares, gq FH TB जो Qa (एक) ई, watq बडे
४४ पदुमावति । २। सि घलदौप-बरनन्-खंड | [ २९
मनोर मरकत FTI wt दरक दे, वे cess करते FT (श्रापस मे कल्लोल कर के बोलते दं) । परेवा (RAAT) BHC करते हे (दन कौ बोलो मे भौ कुरक्ुर धुनि जान पडतो हे । कोद acer धुनि बतलाते ड, उन के मत से घरि यद पाठ F), Mt कलबलाते ह, चर्यात् TAT से उधर उडत ड" ॥ Wher Ds Hs करने लगे डे" । ( पपोहे at बोलो से ae ts धुनि निकलतौ F)1 gee तु al कर के, खो हा, श्र्यात् खो खो, करता Fl चर्यात् ce al ately A ^तुरौखोः ‘asl al’ ae धुनि निकलतौ हे ॥ यदह प्तौ दमारे प्रान्त मे avy प्रसिद्ध Fu कोयल कुर कुह कर रक्वे हे, श्र्यात् कुह Ge बोल रहे ह (कुह कुह कोयल के बोलो कौ धुनि खे) ओर श्छङ्गराज श्रनेक भाषा को बोलता Su (दरस का Tar खभाव डे, कि जिस कौ बोलो सुने, वैसा-रो बोलने लगे । यह aE-aw MT भुजङ्गं कौ तरह प्रसिद्ध प्तौ F | धनो लोग बोलो सुनने के लिये पालते ats) ॥ महरि दरौ दरौ कर के पुकारती oi (ददो दहो waa बोलो कौ धुनिद्े। दूस को asa लोग म्बालिनि वा afeftfa कते हं । यदह मोखे से कुक कोट, vat जाति क्यौ ca देश मे प्रसिद्ध दे) । दहारिल wot हारे eu कौ विनतो करतौ डे, श्र्यात् va at बोली से यौ धुनि निकलतौ ड कि ‘er हारि गदः ‘er हारि ak?) (ae wal सुगो कौ तरह EC TH aT Bary, ओर् बहधा, बर, पौपर Bre पाकर पर रहता 31 प्रो पर नहो उतरता। यदि पानौ पौने के लिये उतरना पडा, तो wae au लिये इण उतरता हे, WT उसौकेश्राधार से पानौ पौ कर Fe पर चला जाता Fi wR पर mua ut को नदौ रखता । ta कदावत डे कि मारनेसेभौ जव afa पर गिरता 3, तब at को ऊपर किये su रहता 31 दस देण मे प्रसिद्ध 3) खाने- वाले दसे ara WS) मोर Gena ई, जो ( कुहकना ) सोदहावन ( श्रच्छा) लगता डे, (दस कौ aah e aa धुनि etal ह), ओर (जव) काग (atu) बोलते ड, ( तव) कोलाहल हो जाता S, AAT तब कोरादर् होने लगता हे, galq कर कर होने लगता डे। (ate कौ बोलो कौ कर कर धुनि डे) ॥
जितने पकौ कचे हं, श्र्यात् प्रसिद्ध ह, सब श्रमरावतौ भर aa ड | र श्रपनो श्रपनो भाषामे सव देव (ईश्वर) का ara aa F ॥
MI WU awa लोग “सारौ Gar Ht र्द करर", AE पाट AVA F, परन्तु सव पुस्तकें मे aes gel पाठ मिलता ह । सारौ (= सारिका = पद्ाडो मैना)
२९. - Re | छधौकर-चद्धिका | | ८४
my ay
afeat का vat vel S1 Beers’ H a ऊंचे स्युएके sat मे" वसतो ह । दसौ लिये जान पडता = fa afa a ate fear Fu ec
ASUS |
पटगं UST RA TST । साजे बदठक अड पाडरौ ॥ Bw कुंड सव ठाउहि टा । सब तौरथ अड fas AH नाऊ॥ मठ HEH चह पास संवारे। तपा जपा सब आसन मारे ॥ काद् सु-रिखेसुर are सनिञ्रासौ। कोड् सु-राम-जति कोड् मसवासी ॥ काद सु-महेसुर जंगम जतौ | कोड पक परखद Bat aati कोई ब्रहमचरज पथ लगे | कोड सु-द्गंबर आहि ait कोई da सिद्ध कोद जामौ। ars निरास पथ ase बिश्रागौ।
दोद्दा |
सेवरा खेवरा बान सव॒ सिथि-साधक Asya असन मारे वदठ सब जारदहिं आतम-भूत॥ ३०॥
पदूग = पग = प्रग = पद् = पैर । कूँ = कूप । बाउरौ = बावलो = वापौ । पारो = पौरी = द्वार वा Mat) मट= जदं विद्यायौं वा साघु-लोग रहे । मंडफं = मण्डप, जो चारो MT खुला रदे, केवल ऊपर काया TI तपा = तपखो, जो पञ्चाग्नि तापे, वा टच मेँ vas टंग कर yA TY, वा MT प्रकारसे शरोर को कष्ट दे॥ जपा =जप करने-वाल्ले, जो किमसौ देवता at वश करने के लिये उस के Aa को, WEA लगा कर, जपते ड ॥ सु-रिखेसुर = Gera = wea मे शरेष्ठ । जो मतरं को शक्तिं को vara कर जाति 2, दन मे साधारण योग्यतानुसार, षि, परमपि, मरषि, राजषि, नह्यषिं रोर देवर्षि, ये भेद SF । afew रार विश्वामित्र कौ लडादै मे, ast तपस्या से, aa स्चिय faufaa agfe इए डैः । दस कौ कथा वाल्मौकि-रामायण बालकाण्ड मे प्रसिद्ध रे ॥ सनिश्रासौ = सन्यासो, जो जोते-हौ श्रपना कमे-न्यास कर डालता =, अर्थात् मरने पर जो गति के लिये क्रिया कमे किया जाता सोवे लोग जोत-हौ कर डालते ॐ, ओर fret खचर त्याग कर एक दण्ड धारण करते हे । उष दण्ड को Taq
४६ पदुमावति । २। सिं घलदीप-बरनन-खंड | Px
पयन्त seat पर गिरने नरी देते, AT BGA सब HH AT साच उसौ दण्ड को vad S । दन्द दण्डो भो कहते Sy कोई कोड तोन दण्ड धारण करते F । मरनेके समय, AIA होने पर, जो सन्यास S, उसे HAT सन्यास Hed S| उसको जो ग्रहण करता द, उसे Mat सन्यारौ कहते So राम-जति = राम-यति, जो रामको उपासनामे विरक्त द्यो कर रदे, जेसे Rahat के ATM लोग॥ मस-वासौ = मास-वासौ, जो एक सान पर मास भर वास करे, फिर दूसरे स्थान पर जा कर avi Bt एक महोना रह कर उसे भो ats Nat, We varie पर बस्ते रहे ॥ सु-मदेसुर = सु-मादेश्वर, जो wat श्रारुति महादेव (मचश्वर ) ATA बनाते हे, अर्थात् जटा, चन्द्र, रुद्राच दृत्यादि धारण क्रते ई, ओर घर से विरक्त दो fra का पूजन करते डे ॥ जङ्गम, जो एक जगह न रहे, सव॑दा घूमा करे" । प्रायः ये लोग वौरभद्र (जोकि ca Fan को विध्वंस किया या) कौ उपासना करते Fon जतौ = यति, जो सयम अर्यात् arse acs जेनियों मे' बहधा यति होते हे, Ue Bae HM होते To देवौ = वाम-देकी॥ सतो = दक्रिण देवौ ॥ ब्रहमचरज = ब्रह्मचय, st यन्नोपवोत दोते-रौ,-- सन्ध्या गायत्री safe नित्य क्रिया ₹है- दस क्रिया को करते, गुरुके घर मे रह कर, वेद् को पठता =, उसे agai aea ह" ॥ दिगंबर = जिन का दशोदिशा-दो wat (वस्र) डे, जैसे परमहंस, नागा दत्यादि। वेष्एवेों मे भो दिगम्बरो ओर निर्वाण, निर्मा, इत्यादि PAST S| परन्तु दन AISA FH WY अरव Yada धारण करते हे ॥ जेनि
मौ दिगम्बर sta ड ॥ सन्त = जो भगवत्कयावार्त्ता का vay Stn सिद्ध = जिसे afwar (ater et जाना), afear (ast et जाना), लिमा (waar et जाना), गरिमा (गुर् हो जाना). atta Care जिसे = ले, जेसे ageat से चन्द्रविम्ब को), प्राकाम्य (जो मनोरथ हो, सो wha दहो जाय), श्रत (are fae ar yy st जाय) तरार वशित्र (चारे जिसे am ata), aaa सिद्धि वश्मेद्यो॥ a= योग जानता हो, समाधि लगाता St विश्रोग = वियोग = feat & वियोगसे जो विरक्त दो गया et सेवरा = यह gus que चलते है । शिर पर जटा चार वस्त HEAT रणते Bl श्रपने को परीव कहते =) gua मूतेद्धिय कौ am at ate डालते ड । रार उस मे (मूतेन्धियमेः) एक पोतल at सिकडौ बधि wea Bo sual चमत्कारौसे सखो जामे से पानौ निकाल देते ड, ओर कति डं" कि गङ्गा-जल हे॥ Bau, सेवरा-रौके wa az ह, (जैसे गोषा म eas, खड, wus, निरञ्जनो, इत्यादि भेद् हे )) हाय मेँ aug
३० - ३९ SUR UAT | ४७
लिये रहति डे, जरर, गोरख-नाथियों के ta, मद्य का खव के सामने दूध बना कर पौजातेद्ै। खालो दाय से केवल हथयेलियां को मल मल कर चना, Ms इत्यादि निकास कर लोग को दिखलाते ह ॥ वान = वान-प्रख, जो स्तौ-पुरुष साय वनम जा कर तपस्या करते 2, श्र्यात् जो ब्राह्मण विद्या पठने के sama, विवाद कर, पफिरस्तौके साय वन मे रता 3) इस का ada मनु ने aaa मे किया ह ॥ स्थि-साधक = सिद्धि-साधक = श्ष्ट सिद्धि के साधने-वाले॥ श्रउधूत = च्रवधूत, जो संसार के व्यवहार से श्रलग दो जाय | परमहस के एसा, प्रायः saya भो मौन रहता S, ओर धूर लपेटे रदता इहे । गोरख-नाथ को लोग सच्चा श्रवधूत कते ह ॥ श्रातम-न्त = श्रात्म- श्त = अ्रपना शत, चर्यात् waa पाञ्चभौतिक (wate) को॥
उस श्रमरावतो में चेर UT पर AU तरर बावली है, (जिन पर विश्राम के लिये) नेटक सजे हे, ओर सोदयं aT Fon भरर स्थान स्थान पर जो सव कुण्ड SF वे सव तों ( तौधं-खरूप ) ह, चार तिन FAM ह, अर्थात् Tage, wage, Hage, द्रौ पदौ-कगुण्ड, इत्यादि, उनके नाम रक्ते BUT ॥ चारा तरफ (उन कुण्ठं के) as चार मण्डप बनाये गये ₹है, जिनमे तपसौ चार जपौ सब आसन मारे (area at लगाये) हे ॥ att सु-षोश्वर, ath सन्यासो, कोई राम-यति, कोई मास-वासो, कोद FAVA, कोद THA Bre ath af S । कोई एक देवौ (वाम-देकौ) को परखता = ( परोक्ता करता दे), श्र्थात् वामोपासनामे ven रहे, जर कोई सतौ देवो (cfau-zal) at परखता हे, श्र्यात् शक्ति कौ उपासना करता रहै ॥ को$ ब्रह्मचये पय मे लगे हे । कोई सुन्दर दिगम्बर दै, जो नङ्ग होने पर भो as लगते = (arafe) ॥ कोद सन्त, कोद fag, को$ aby । Bre कोई वियोगौ (gar) निरास पय (नैराश्य मागं =प्रेम-मागे) मेः Far Fy
सेवरा, खेवरा, वान (वान-प्र्य), सिद्धि-साघक, ओर BIA, सव श्रासन मार कर aa दह, MT सव BVA WOT को HUA ST ve I
ASUTE | मानसरोदक देखे काहा । भरा समुद् जल अति अउगादहा॥
पानि मोति असि निरमर ata) अंत्रित आनि कपूर Gare लंक-दौप कड सिला HATS | बांधा सरवर घाट बनाई y
ya पदुमावति | २ | सिघलदौप-बरनन-खंड | [2%
खड खड Malt HE ad उतरदहिं wets लोग चह HT ॥ फले कवल रदे BE राते। सदस सहस पखुरिन्ह कड aa ॥ उलथदहि सौप मोति उतरादहौ। चगि हंस ay केलि कराह i कनक पंख प्रहि अति लोने। stay वितर कौन्ह गडि aa दोहा | ऊपर पाल we feat अंत्रित फर aa eq | देखि रूप सरवर कर गड् पिञ्ास AT aq se
मानस्रोदक = मान-सर का पानौ । च्रउगाद = अवगाह = ्रयाह। सिल्ला = शिला। अनादर = HA AT) WO = गले के रेस = घुमो्रा । राते = रक्त ae saute == उलटते ईह । उतरारीं = उतराय आतो रहे) पदर =पौरते F =तेरते F । वितर = faa पाल = पालि = पालौ = तर = किनारा । पिच्रास = ae = पिपासा
उस श्रमरावतो के सरो-वर के जल को देखा क्या, जानें अति Bare समुद्र के Tar जल भरादटे) जिसका पानौ मोतौ के tear निमेल रहै, मानेपं नत को ला कर (arfa), कपूर से सु-वामितं faa su लद्भा-द्ौप कौ शिला अर्यात् सुवणे at frat मगा कर, उम सरो-वर का घाट बना कर (सुन्दर रचना करके) बधा गया = खण्ड खण्ड (प्रत्येक भाग) मे qatar sel भद्रै रे, अर्थात् लग दे, जिनसे चारो ait (लोग) उतरते asa र ॥ उम सरो-वर मे कमल पले दं, MT लाल Bt रहे =, ta कमल रहै जिनमे हजार दजार पणवुरिश्रांके wa (कच) र । (जिन कमल के फूलमे सख परतुरियां Wat ह aga: वे-हौ कमल द । श्रमरकोग्रमे भौ लिखा = कि ‘aga-ud कमलं, श्रत-पत्तं gina’, श्र्यात् faa मे Bat पच हो वद कमल, तरार जिसमे सो पत्र Bt वद aine कदलाता = ॥
हंस सोप को sued ई, ( जिम से) मोतौ उतराय wat हे" । ओर् उन मोति्यों को Wa ह अर (रपस मे) केलि को करते = ॥ (बे हस) afa सुन्दर (श्रति aia) सोने के पच्च (पंख) से पेरते रहै । जानें गढ कर सोने में चिच, श्र्थात् विचिच रूप, किया 2) (कवि लोग सुन्दरता के लिये प्रायः gam रूपौ दम को gen करते > । नेषध के प्रथम an a भौ लिखा = fa ‘a aa वित्रं विचरन्तमन्तिके दिरणए्सयं दसमबोधि Awe’) ॥
३९ - 82] घधाकर-चन्दरिका | ४८.
उस सरो-वरके पालौ (तर) के ऊपर, चारो दिशामे, सब टच (रूष) waa फल के लगे हे । उस सरोवर का ey tq कर, प्यास चेर ae ak, श्र्यात् चलौ जातौ हे ॥२९॥
| चउपारईे |
पानि ace आवहिं पनिहारौ। रूप सरूप पदुमिनौ नारौ ।॥
पदुम गंध fare sit वसाहौ। भर्वैरलागि तिन्ह संग फिराहौ ॥
लंक-सिंधिनौ सारग-नथनौ । दंस-गाविनौी कोकिल-बयनौ ॥
safe we सु uifafe vidal गवन सोदाइ मु भांतिहि भातौ i
कनक-कलस मुख-चंद दिपाहौ। रहसि केलि सड आवहि जादौ ॥
जा सड ag हेरहि we नारौ। वंक नयन जनु हनदह कटारौ॥
केस मेधावरि सिर ता पाई । चमकहि दसन बौजु कदर नाई" ॥ Stet |
मानड मयन मूरती अरौ बरन अनप, जेहि az असि पनिहारो oa cat कंडिरूप॥३२।
लंक = लद्धः = कटि = कमर । सिधिनो = सिंहिनो । सारंग = सारङ्ग = कमल | गाविनौ = गामिनो । feared = दिपते ह = चमकते ह । रदसि = हंसौ set! चु = चच = नेच । wfe= मारतौ हे, मेघावरि = मेघावलि ^ मेच के पद्भ्ि.के एेसा। ता पाई = पैर तक । बौजु = विद्युत = विजलो ॥ मयन = मदन = काम-देव । अहरौ = HUTT ॥
(जो) पनिद्ारौ पानौ भरनेश्रातौ रहै, उनकेरूप का aay (wafa) wf नारे के tars, क्योकि Mya AVA ae wa S कि ‹घनिसादौप जरं दौपक नारौः॥ तिन के श्रङ्ग पद्म-गन्ध (कमलके सुगन्ध) सा गमकते ह (वसाते ह), श्र्यात् faq Fags Ra a सुगन्ध का बास श्राता ह। (जिन नारियों के oy A पद्म का गन्ध St, oe पदिनौ कते दे । नारिर्या का विस्तार से लच्तण, श्रलाउटौन से राघव-चेतन ने जदं नारियों का वणेन किया 3, तद्य पर किया जायगा) । (जिस कारण से) भमर लगे इए तिनके संग fart ata Sy वे पनिडहारियां लङ्-सिंदिनो (सिंहिनौीके
7
० घदु मवति । ९। सिंघल-द)प-बरनन-खंड | [a2 - 8
afe at faa at कटि दो), सारङ्ग-नयनो (कमल सा जिनके मयन हा), इस-गामिनौ (दस कौ गति सौजिन कौ afa wt). are कोकिला-वयनौ (कोकिला सौ जिन at बोलो दो) दे ॥ (Vay पनिहारियांँ) aw कौ aw सुन्दर पङ्कं afe F श्रातो F, चर्यात् दग्र em ate बौ का Aw, एक साथ पातो लगा कर, पानो भरने के लिये ्रातौद्ै। उनका सुन्दर भाति भांति का (तरद ave का) गवन (गमन चाल) सोहाता दई ॥ (भिर पर) सोने के कलस से चन्द्र-षूपौ मुख (तरर) दिपते F (sana द) (च्रापममे) दंसो चार केलि से, wala wat र विनोद करतौ s¥, तौ Hat = ua नारो (पनिहारियां) जिससे ate लडातो हं (हेरि), जानें (उसे auat) ata नयन (facet आंख) से कटारौ मार sat ह (safes), ्र्थान् कटारौ केचोटसेजो मन at qe होता डे, वैसा-दौउनके देखने से जो दय मे मदनाग्नि उत्न्न ut जातौ हे, उस से मनव्यकेमनकोदुःख व्याप्त दो जातादहे॥ कालौ घटा at पाति at तरह (मेघावल कौ तरद) शिरसे पेर तक an ST) उस मे (उस कालौ घटामे) cwa (दति) विजलौ at तरह चमकत = ॥
(वे पनिदहारि्या) arat काम कौ afa =, रार उनका वणे WaT VW ्रनुपम् ( उत्तम) 31 faa cat कौ tay पनिदारियां हं, (नदौ जानते कि) ae cat ( पद्मावतौ ) किस खूप at ett र२२॥
चपा |
ताल तलाउ सो बरनि न जाहौ । छड्चद वार पार तहिं नादौ | फे कुमुद् केति Gist जानडं उर गगन मंह तारे I उतरदिं मेघ चढदिं लद पानौ। waafe मह ay कड बानो ॥ प्रहि पखिसो dale संगा) सेत पौत रते aa र्गा ॥ चकर चकवा केलि काही । fafa a विङ्ाहा feafe मिलाद्। कुरलहिं सारस भरे हलासा | जिन दमार् qufe va aah aa सान टेक वग Met | रहे अपूरि मौन जल-भेदो॥
ददा | नग अमोल तिन्ह तालं = feafe बरहि जस दीप, जो ATIMA Be afe सो waz ae ary ssn
RB | सुधाकर-चन्निका | ५९
तालो Hat तक wa दोति दें, भार किंसो के खोदे नहो दोप, faq zat के नोचो पड जाने से दोति FS) तलाव = तडाग । वार = जिधर देखने-वाला खडा हो, उधर जो किनाराद्ो। पार=पाटका दूसरा किनारा। केति = कितने। मक = बडे मद्य | वानो = वणं = सदृ श्र कुरलदहिं = atefe = ater करते ह । Har = कमल | सोन, टेक, MIL Gat प्रसिद्धतालके पक्तौ दहै, Ta को बहधा रोग खाते ह । वग = वक = agar! मोन = मदलो ॥ aA = मर कर जो जीते है, wala जो समुद्र मे ca निकालने के लिये गोता लगाते हं (गोता-खोर), ये जव गोता wma SF, तब मानें मर जाते हे । फिर जब vata हं, तब AAT St जातें । दसौ लिये acta काति F ॥
उम श्रमरावतौमे जो ताललके TA awa हं, वे बरने aS) जाते। तिन का वार पार (करक भो) नरो Gear हे ॥ उन मे कितने उज्वल कुमुद (कोई) फले F । उन कौ शोभा tal ₹ह, जनँ गगन (arama) मे तारे gu Fu (उन मे पानौ लेने के लिये) मेघ उतरते F, चार पानो ले कर (फिर श्राकाश्र को) ws जाते F) उस समय पानोके साय जो मेघ-मण्डल मे as बडे AQ चलेजाते हं, वे बिजलौ के az चमकते ₹है ॥ उन तालावो मे सेत (श्रेत), Da, भार राते (लाल) सव TE के पतौ सङ्ग सङ्ग मे पेरते है (axa ह) ॥ चकर Are चकवा (श्रापसमे) क्रीडा करते है
atat fafa (राति) के faster (वियोगो) हे, दस लिये feral मे मिल ड । (ae कहावत है, कि सन्ध्या होते-रौ चकई (= चकवा कणे स्तौ ) जार VHA ( चक्र = चक्रवाक) मे fasta et जाता दे, तालके इस पार एक दूसरे पार दूसरा एक एक के wit मे fs भर चिल्लाया करतेद)॥ सारस sare (श्रानन्द)मे भरे श्रापस मे करडा करते है| तरार (कतं S किं सचा) जौना हम Mat ar F, जो एक साय (पास) मरते हे | (सारस के जोड़े मे Tay परस्पर मोतिद्ोतो हे, कि यदि एक पकड लिया जाय, तौ दूसरा श्रापसे श्राप उसके ge wr जाता ह। दस लिये एकके मरने पर दूसरा उसो स्यान पर श्रा कर aT Ht प्राण aati Sar ड) ॥ केवा (Haw), सोन, टेक, वक, लेदौ, AT जल को भेदने-वालौ, wala जल के Hat रहने-वाली Aaa, ये सव (उन तालवेोँमे) भर पूर (age) रहे द, walq भरे पडे ¥ | उन ताल मे Raq नग (रन्न) भरे दहे, वे दिनरौमे BB रते F, ( चमकते ह) जसे दौप। उन तालं मे जो मरजौश्रा (गोता-खोर) हो, सो उस सोप कौ पावे, जिसमे बे नग Tea Sl ३२॥
५२ पदुमावति | २। सिंघल-दौप-बरनन-खंड | (३8
चपा | पुनिजा लागु बहु faa बारौ। फरौ अनूप Are रखवारौं ॥ नउ-रग aI ata wT | अड बदाम बहु Fe अंजोरौ। गलगल तुरुज सदा-फर फरे। नारंग अति राते रस भरे॥ fafafafa सेड wt नउ पाता। दारि दाख देखि मन राता॥ लागु साहाई इरिफा-रोउरौ । vas रदौ केला कड घडरौ | फरे {aq कमरख AT asst | रादइकरउदा aft चिरउजौ i संख-दराउ FIT SF | ABR BAA खाटे A? 1
दोहा |
पानि देहि खंडवानो ` कुंद wis बहु मेलि, लागो धरौ Tez कड सौचहि afar Afri sey
नउ-रंग = नव-रङ्ग । ats = fer । WANT = HAT | गलगल = एक प्रकार का निम्बू । तुरुज = ata = निम्बू । सद्ा-फर = सवेदा फरने-वाले | नारंग = नारङ्गी | सेड = सेव । दारिउ दाडिम = श्रनार दाख=द्रादा = ART । हरि फा-रखउरो = दालफा- Vast | घञरौ = घौर । नउजो = लोंजो लो चो । राद्-करउदा = राय-करोद्ा | संख-द्राउ = ग्रह द्रावक = संख को गला देने-वाला निम्बू, यदह उद्र रोग के fed as कामका डे । खजदहजा = मेवे के Te (ecg ets कौ cay चौपाई को देखो) ॥ खंडवानौ = ISA = Ae, ae पर इजारा faa से फूल, पड, सोचते Fl रौ कोरी छोरी गगर | रहंट = चक्राकार जल निकालने का यन्त = एका प्रकार कौ पुरवट = HITE (Raq म) ॥
पुनः (फिर) ओर जो aya waa (HTH) TH (बगौचा) aw TF, सो च्ननुपम (उत्तम) फरौ हे, र उन कौ रखवारौ होतो Su उनम नव-रङ्ग, ate चार HAT निम्बू हे, र aaa WT बहत भेदके, Wal ATE तरद के, WANS ॥ गलगल, AA ( तुरंज = निम्बू, <a विजौ डिया wet हे, दवा में बधा काम भ्राता हं), MT सदा-फर फरे ह, नारग at F, जो रस भरे भ्रति राते (रहब सुखं) दो गये su किंसमिस Me सेव नये पत्तेसे भरे at T (कोई नउ qara
R8 - 34] ुधाकर-चन्िका। 48
नाग्रपातौ लेते हे, परन्तु यद्धं कवि ar वरौ श्रमिप्राय जान पडता दे, किं किसमिस (apa के tar) शरोर सेव (श्रमरूत के सा) नया पत्ता लेते-हौ फरते Z +) 1 दाडिम (श्रनार) र दाख (ART) को देख कर, (उन a) मन रक्त (at) St जाता ईह, चर्यात् लग जाता हे। यदौ मन चादतादरे, कि we देखा कौजिए॥ दालफा-रेवडौ जो लगौ डे, वह saa wife 1 are केले का घौर (मारे वोचो के) संक (gaz) TS Sl Ga, कमरख, AGN, राय-करोंदा, बेर, चेर faction ये सब at F ॥ संख-द्राव AIT SVT भौ (उन ane a) देखे जाते हे, र्यात् S, Bie aF मोरे, जितने ares (मेवे के ठच्च) हे, सब वदां पर देख पडते दहे, र्यात् FB मेवे के att ga नहो जो वहाँ पर न लगे BT ॥
(मालो लोग) Fat म wis डाल कर (मेलि), जारा से (दन मेवेके ait में) Uat Sa Ss | ओर Tes कौ घडो लगौ Ss हे, जिन से श्रष्टत-रूपौ जो बेलि ( वन्लौ = लता) =, we सोचते Sn ३४॥
चपा | पुनि फ़ल-वारि लागु चदं पासा। वबिरिख वेधि चंदन WE बासा॥ बहत फूल फलो घन-बेदलो । Fat च॑पा कुंद् चवेइलौ | HUA गुलाल कदम अउ RMT सुगध-वकाउरि ATT पूजा ॥ नागेसर सतिवरग नेवारौ । ay सिंगार-हार पुलवारौ | सोनिजरद लौ सेवती | रूप-मंजरौ अउर् मालती | जाह Het ARTS TWAT! पुष्प सुद्रसन लागु srerar मउलसिरो ase अड करना । सबद पल पले बहु बरना॥ दोषा | तेहि सिर Gaacfe वेद॒ जंहि माथि मनि भगु, safe सदा सुगंध भद जनु बसंत अड फागु ॥३५। घन-बदलौ, RATT (= RAST), चम्पा, कुन्द, चवेंदइ लौ ( = Vaal), Bla, Tas, कट्म (= कदम्ब), RA, सुगं घ-बकाउरि (= सुगन्ध-वकावलौ = रुल-बकावलौ ), नागेसर, सतिबरग (= खद्बरग), नेवारौ, सिगार -दार (= हरसिंगार = पारिजाता), सोनिजरद
धू प्रदुमावति | २। सिंघल-दौ प-बरनन्-खंड | [aa
सेवतो (= सोने सौ Deal Bar, वा सोनि-जरद चार सेवती), रूप-मन्नरौ, area, जादो, Tel, Va, मउलसिरौ (= मौलसिरौ ), बेदलि (= वेला), We करना, ये सव पं के नाम दे ॥
फिर ga ate के चारो MT फलवारौ लगो 3, जो (wR) वास (सुगन्ध) से adit को वेध कर चन्दन दई डे, श्रर्यात् उष के सुगन्धं के लगने से सवं टच सुगन्धित दो गये हं, इख लिये पलवारौ चन्दन हो गदै डे, (चन्दन का गुण धारण करत FI क्योकि wea मं यह gus, fa उस क्ये सुगन्ध लगनेसे, ओर sa भो aaa सुगन्धित दो जाते हे )॥ घन-बेलो बत पुल Hat छदैः AT उस फुलवार मे, केवडा, चम्पा, कुन्द, चमेल, सुरग, गुलाल, कदम्ब, र gar लगे हं, सुगन्ध-वकावसे भी रै, जो fa राजा गन्धवे-सेन के पूजा-योग्य हे, र्यात् केवल राजा गन्धेषे-सेन के यदहं उस के फूल पञ्चते डे, दूषरे को दुभ डे ॥ पुलवारौ में नागेसर, *सदवरग, नेवारौ जार दर-सिगार (भौ) Fou सोनजदं, सेवतो, वा पौलो सेवत, ease, Are मालती फलौ जै हे ॥ set ae gel ठेरके ढेर ( व्ुचन्ह), ्र्थात् बहत, लगा हं । (दस फलका धमे, कि एक लगने से कुक feat मं हजारों दहो जते रे) सुद्भेन फल भरौ लगा war शोभित इ ॥ मौलसिरौ, बेला, AIT करना पले दे, भरर अनेक वणे के फल प्ले = ॥
वे फूल तिस के शिर set ह, जिस के माये में मणि (कान्ति) Are भाग्य हो, (agi) सवेदा अच्छो सुगन्ध at रहे, श्र्थात् दो cel 3, जानें (सुषैद्ा) वसन्त रर फाग =U
बेला at साधारण चार जाति ई, que, मदन-वान, मोतिया, ओर Beha) मुंगरा के पून मे asa पत्तियां watt दै । मदन-वान का फूल लम्बा Mt कु नोखौला दोता हे । मोतिया का फूल मोतो के Fer होता हे । च्रोर Fafa के मूल मे पत्तियां wan wat होतो हे । मुंगरे को घन-वेद्लि भौ कहते द । रूप-मन्नरो चार WAIT Alt Bat =, रौ Jara, एक लाल, भेर एक श्वेत । श्रेत बहत मिलती ह, ओर तौन ब्त कम। करना एक प्रकारका निम्बू दे, इस के फल में सुगन्ध भौ होता दे) करने का श्रतर कान A रोडने से, कान कौ Ter weet दो जातौ ३। (६ ण्व दोहे को देखो) ney
* पारस षद् (Oo) == सौ । aa (Sp) = परो । जिस मे" सौ पर्तिरयां सं, Sule इजारा ॥
ad] पधाकर-चन्दिका | ie
चपा | fave नगर देख पुनि वसा । धनि राजा afa a करि car Sat watt उंच अवासा । जनु कविलास Fer कर बासा।॥ राड राक सव धर घर सुखौ । जो दौखड सो हंसता-मुखौ॥ रचि रचि सजे चंदन WIT!) पोते अगर मेद अड at सव चडउपारिन्ह चंदन wat) Bafa सभा-पति ax? aa जनउं सभा देच्रातन्हि कड AT -परद दिसिटि ईदरासन पूरौ । waz गुनौ पंडित अड ग्याता। संस्किरित सब के मुख बाता।
रोदा |
अहक पंथ ware जनु सिउ-लोक अनूप। घर धर नारो पदुमिनौ मोहदहिं दरसन रूप ise |
पवरौ = पौरौ = Sash) श्रवासा = च्रावाख = निवास-सान । राक = te zh ASU = चौतरा | मेद = HG | गडरा = गोरोचन | waft = चतुः-्राल। — वेट, faa मं चारो We खुलता te) carafe = Vamsi) wat = ज्ञाता। संसकिरित = GAA ॥ WISH = दादा = गन्धवं-विग्रेष |
फिर स्घल-नगर वसा देखा गया हे। (उस वमने को देख कर al कहा जाता डे, fa) धन्य वद ( गन्धवे-सेन) राजाह, जिस कौ TA दशा रै, अर्थात् भाग्योदय Fy (जिस सान पर राजा रहता डे), उस कौ Sash (दरवाजा) ऊंचौ 3 ओर निवास- खान भो ऊचादे। tar wear निवास-स्थान, जानें इन्र का वास-सान केलास ॐ। (oR से यहां महेश से तात्य डे, क्योकि महादेव का वास-खान कैलास S$) क्या राजा, ष्या TH, सद्ा (IT) घर घर सुखोद्े, भार जो देख पडता डे, सव हंसता- सुखौ ( प्रसन्नवदन) Su सव कोई रच रच कर चन्दन का चतरा सजे ङ“ gaz, HEC WT गोरोचन (उस चतरे में) पोते हे ॥ जितने agar ( चतुः-ग्राला ) ड सव मं चन्दन के खम्भ लगे डे, जिनमें (aa मं) sige (लग) कर सभा मेँ (चतुः
= ॐ
राला मे) सभा-पति लोग as हे ॥ (उस ast Ta wh 3), जानौ Baas |
५६ पदुमावति । २ | सिंघल-दौप-बरनन-खंड | [ad - ३७
सभा जट (ज्रौ ), श्र्यात् लौ, ह, (Are उख चतुः-शाला पर दृष्टि पडने से यदो जान पडता =), जानौ TR के waa (वेदक) कौ पुरौ (श्रमरावतो) पर दृष्ट पडतौ Su सुव गुण, पण्डित, भार sat (विन्न) ₹है। सवके Ga a संछ्तको बात रे, श्रर्थात् सव कोई संत बोलता = ॥
श्राहक (हाहा नाम का गन्धव) पन्थ (पथ = राह) को बनाता ₹, जानौ ways शिव-लोक 3 ( वह सिंघल नगर ) । Me वदद घर घर aft Tat डे, जो श्रपने रूपके aia से, श्र्यात् aa at दिखा कर, स्वको ate Sal हे (मोहतोदहे)॥२६॥
TUTE | पुनि Sal सिंघल az हाटा। नउ-उ निद्धि लद्िमौ सव पाटा। कनक हाट सव FHS लौपो। Fs मदाजन सिंघल-दौपौ॥ cafe gavel रूपदि ढारौ । वितर कटाउ अनेक Fatt i सोन रूप भल ass पसारा। धवर-सिरौ पटवन धर-बारा। रतन पदारथ मानिक मोतौ। हीरा पवरि सा अनवन जोतौ॥ अड कपुर वेना कसतूरौ। चंदन अगर रहा भरि qr az न हाट णहि ates वेसादा। ता कदं आन हाट कित लाहा ॥ दोददा | कोई ATT बेसाहना काह केर fats कोई चलद लाभ AT कोड मुर TTI OI
हाटा = BIS = ददा = बजार ॥ ककुदि = FHT से=~एक प्रकार कौ TT easel = euler; जिससे सोनार-लोग श्राग्रूषणए बनाते दे । रूपहि = रूप को, भ्र्थात् खरप को । वितर = चित्र । कटाउ = कटाव= काट काट कर, WA कूल पन्ते कौ रचना | सोन = सोना = खणे। रूप = रूपा = T= चादौ । पार = प्रसार = फैलाव । धवर-सिरौ = धवल-ओ्रौ = उच्वल WT | पटवन = पट-बन्ध = पदां । पवरि = Gast । श्रनवन = जो बनने के योग्य न दो, Bul अनुपम, वा AI श्रन्य = श्रनेक। जोतौ = प्रकाशर | नेना = खस-टणए । श्रगर = श्रगुरू, एक सुगन्धित काष्ट । बसादा = खरौदा । कित = कुतः = कां । लाहा = लाभ ॥ बसा दना = खरोद को वच्छ | मूर = मूल-घन ॥
RO — ३८ | ` पधाकर्-चन्द्िका | ४७
फिर सिंघल के हाट को देखा। जदं नवो निधि कौ ख्व wat पटौ Fu पद्म, महापद्म, UE, मकर, कच्छप, मुकुन्द, नन्द, नोल, WT Va, ये नवो निधि दे । सोने al बाजार सव agar से लोपौ sk SF) उस में सिंघल-दौप के महाजन as F (aia मँ) खूप (afi) को sre कर, तरह तरद के चित्र Are aera को बना कर, ENS से (पौट पौट कर, जदा कुक कसर ce ग डे, उसे) बनाते हे ॥ (उस हार म) सोने Be ast का wear Fara श्रा रे, श्र्थात् बेचने के लिये, जहां देखो, तदहं सोने रूपे के खेलौने दत्यादि Gara इए PF 1 घर के बार, चर्यात् द्वार, में पदं लगे है, जिन कौ उज्ज्वल शोभा, र्यात् ga वणे के सव पदं प्रोभित Fu रन्न के पदा, माणिक्य, मोतौ, ओर दौरे Safest FH as J, जिन कौ ज्योति श्रनुपम S11 (कोई श्रनवन का श्रनेक श्रय करते है, श्रर्थात् जिन कौ aaa प्रकार के ज्योति S) ॥ MIT HAT, खस, HAC, चन्दन रर श्रगर (wea ) पूरे तौर से, wal चारो wT, भर रहे हें ॥ जिधर देखो, तिधर सुगन्धे से हाट महमह महक TA Sy fart A दस we F नौ ade किया, उन को दूसरौ we मे करा लाभ, अर्थात् Dar कोई vera नरौ, जो दस ere A न बिकता हो, र जो पदाथ दस में नरौ, सो फिर gad) we F कर्हांलाभद्ो, क्योकि सव wei sy ag कर, यह हाट हे ॥
को$ खरीद कर Ter =, किसौ का (पदायै) बिक रहाद्े। कोई लाभ उठा कर, आर कोद मूर at al गवां कर, THT A चलते Fy ३७॥
चपा |
पुनि सिंगार हाट धनि देसा। az सिंगार ae बदरीं Far मुख aaa तन चौर RAAT कानन्ह कनकं जराऊ Wit 1 हाथ ata सुनि मिरिग qaret । सुर atefe सुनि cea a are भद घनुख तिन्ह नयन wea मारहिं बान सानि as फेरौ।॥ अलक कपोल sy हंसि देहौ । लाइ कटा मारि जिउ लेहं । कुच ayia TAT जुग सारौ। अंचल देहि सुभाव-हि aay केत खेलार हार तिन्ह पासा। हाथ aft दाद चलदहिं निरासा॥
8
भैस पद् मावति | २ | सिघल-दौप-बरनन-खंड | [३८
दौद्ा |
चेटक लाद रहि मन sv wfe vfs Sz a | सांठि-नांदिउदिमप्वटाउड ना पहिचानि न Bf sch
स्गिार = wat) धनि = धन्य नेसा = वेश्या । तबोल = ताम्बूल । तन = ततु = शरोर, वा पतला । चोर = वस्त्र । कुसुंभो = कुसुमो = कुसुम-रन्ग का। gat = खंभिया = काप। बोन = वोणएण । fafa) सुर् = खर ¦ पदग = पग = प्रग = पद् । भरं =a) श्रहेरो = श्रदर करने-वाला। सानि = सान = शाण, जिस पर वाण, कूरो, इत्यादि फिरा कर चोखे किये जाते ह । श्रलक == लट । कपोल = गाल । कटा = कटाच | कचुकि = कञ्चुको = चोलिया = चोलौ । जुग = युग = दो । सारौ = पासा॥ चेटक = चटक मटक से टोना लगा देना, वा gal Afs— ग्रन्थौ = गरौ (रुपये Va कौ) । पोरि = फट = कमर मे लपेटा EM gal शंटि-नाटि वे पैसे aA के साट ऊख को Hea हे, ओर ais नष्ट का sma ₹, अर्यात् वह ऊख, जो कि नष्ट चर्यात् नोरस हो गदै हो, यद ग्रन्दायेहे। श्रव निधनो के श्रयं में प्रचलित हे) बरा = वाट चलने-वाला = carey ॥
फिर श्रङ्गार को ure, श्र्यात् set रूप विकते F, ay धन्य tu (खान) 21 तदहं wage किये Aare eat हें ॥ सुख मे ange (पान ) खाये ह, wae मे aA रङ्ग का वस्त्र पहने दहे, वा कुसखुम-रङ्ग का पतला aw ufea € (जिस मे ara रग का gan देख पडे) कानेँ मे जडाऊ (नग से जडो रू) सोने क्यौ कप, वा कण-पूल, पदनि Su हाथमे ata को लिये रहं, जिनके श्रब्द को सुन कर aa (हरिण) ae जाते हे । WT उस के खर को सुन कर रेसे मोद TAT कि एक पेर नरौ चलते, श्र्यात् चिच से खडे रहते ॥ उनको aid frag भौर-खूपौ धनुष से, सान पर फोर कर, वाण कोमारतौ F । यहाँ दृष्टि-पात at वाण, चार HAG को सान समद्यना चाहिये, We cyt उधर पुतलियों का Aca, wat उस दृष्टिपात-रूपो aru पर सान फरना = ॥ गलं पर जो लट लटकतौ F, वह उन के ख देने पर डोलने लगतौ हे, श्र्ात् ste कर पथिको को श्रपने पास aerate । वे वेश्याय ( पथिको के wae WA पर) Fete को लगा कर, श्र्यात् WAT ait चितवनसे, जोव मार लेतो हें, श्र्थात् मू्धित कर Sat Fy चोलके भोतर उन के
Bc ~ २९] सुधाकर-चन्न्िका | ५९
कुच (स्तन) जानो दो पासे हे, जिन at खभाव-रहौ से aaa ठार देते ह, अर्थात् मेदान Ha VAS) कविका यर्हा पर Ter sma डे, कि पथिको को waa के लिये वेश्याय खभाव-रौ से चण चण पर जो श्रञ्चल कुच परसे दृटा Gals, दस से पथिको के दृष्टिगोचर वे कुच et ara S, at मानो ave a पथिको के सामने SVEN Warsi को फक दिया, fe यदि Gast द्ये, तो ars, ओर दन पासो से Gut ॥ fare पासो से कितने खेलाङो हार wa F । भार we are कर निरास हो कर चले जाते S, अर्यात् Ta जादू FA पासे दे, fa va से, यदि कोई खेले, तो वेश्यानां से प्राय मेँ हार जाय। AT, जव हार जाता द्धे, तब दायको साफ करने के faa, are देता डे, वस्तुतः वद द्याडता नदौ किन्तु मन A पक्ता कर दाय मलता FH
जब तक कमर मे गंठरौ (रुपये पसे कौ) रतौ हे, तब तक चटक मटकसे star Ul MT कर, वा दूत को लगा कर, मन को दर लेतौ हँ) Be जव निधनो दो जाता दे, तब tal Gear करतौ ड, जानो न कभ कौ भट न पडदिचान रहै। इस लिये वह बेचारा उठ कर, बटाऊ हो जाता डे, Hale was कतेखता को श्रोचता, वदां से चलता Cat = ॥
यदहं दौसा के स्थान म॑, तक fama फे लिये, यदि कवि ने Sar far दो, Tar मानो, तो geet चोपाई का we ^ फिर RIT हार को धन्य, Wald विदिच, देखा, we करना चाहिए ॥ साततं wars eS fare पासा' का तिन (वेण्यां) के पास (निकट) कितने खेलाङ UX गये, यदह भो WT कर सकते BW ze i
चयार |
लद UE पुल बदठि पुलवारौ। पान श्रपुरब धरे warty सेधा सबद बद्रदु लद गंधो । बहुल कपुर खिरउरौ a avg पंडित vefe पुरानू । धरम पंथ कर करदं बखान् ॥ ae कथा कषद किलु कोड । ate नांच कोड भल हाई । कतह दरष्टा Waa लावा । कतहु wet काट नचावा ॥ STE नाद सबद BE AM! AE नारक-चेटक-कला | कतहु are ठग विदिश्रा लाई। कतहु Safe मानुस sects
Re पदुमावति । २ | सिंघल-दौप-वरनन-खंड | [ ३९
रोष्टा | चरपट चार गंरि-लोरया faa cefe तेहि नांच, जो afe हाट सजग रषद गदिता करि uz वांच iad)
फलवारो = फल-वालो = फल वेचने-वालौ | श्रपूरव = श्रपूवं । सेधा = सुगन्ध-द्रय = Bat Fae । गधो = गन्धौ = Fat Gea बेंचने-वाला | बहल = बत । खिरडरौ = खिसौरो = मसालेदार खेर कौ गोली, जिससे पानमे विशेष खाद् उत्यन्न होता Fi हमारे प्रदे मे बङ्त प्रसिद्ध हे, TI Gat मे मूग, तिल, भार कोड, दत्यादि से ‘gma’, "तिलौरौ ” " कोदडोरो `, दत्यादि शब्द बने हे, उसौ प्रकार खेर से ‘fade? SM SF) कोड = कूदंन = कूदना | कर दटा = नकल करने-वाले = चार (HH) लपेटने- वाले । पेखन = प्रचण = दृश्य = मेला । Gast = पाखण्डो = धृत्ते = कट-पुतलौ नचाने- वाला । नाटक-कला = नर लोगे कौ बाजो-गरो | चेटक-कला = चटक मटरकसे रोना लगा देने-वालौ कला, faa से मनुख्य विवश et ara बिदिश्रा= विद्या। बउराई~ बौर दा ॥ चरपट = चपाट = मृखे, जो जबरदस्तो waa जोरसे दूसरेको Bei at ara ज्ञे । गंटि-कोरा = गटरो को Sa लेने-वाले, = चाड । सजग = सल्जित = सावधान | पद् = अपि = निश्चय से॥
(उस दाट मे) पूल वेचने-वालौ मालिन Tai कोले ले कर बेटी ह । रार बना कर (संवारि) श्रपूवे (जो कि पले न देखा गया हो) पान को धरे ई Fy गन्धो aq सुगन्ध द्रव्य कोले कर, Me बत कपूर के साय FAAS बांध कर Far F 1 (यदं ‘qua’ के स्थान मे “मेलि यदह पाठ wer Fi तव Wal सव सुगन्ध द्वय कोले कर Jat डे" भार कपूर डाल कर (मेलि) facto को बाधा ईह, श्र्यात् बनाया हे) ॥ कर पण्डित WIN को पठते ड, AT was का वंन करते है ॥ करौ पर कोई qe कथा कता ड । करौं पर श्रच्छौ तर aie MT RS हो TAT करौ पर नकल करने-वाला मेला लगा रक्वा Si कौ पर कट-पुतलौ नचाने-वाला काटी को (काठ at पुतलिये को) नचा रहा Sn करौ पर (वाद्यका) नादो Ter F, जिस का ग्रब्द भला (जान पडता) Sn करी पर नौ का खेल, भार चालकों का इपर सम्बन्धौ खेल दो रदा Tun wey पर ठगने किंसो के ऊपर (ठगने के लिये) aga विद्या को लगाया ई करौं पर लोग (श्रपने aa मन्त्र से) Ade को बौरदा कर लेते = i
we - ४० | उधाकर-चन्दरिका । ६९
जबरदस्त, चोर, MUCUS उन नच मे मिले रहते है, श्र्थात् ऊपर जो कद श्राय हे, कि wel wey weal तरहसे नाच ae दो रदा है, वहां पर gal ata ae a ये सव मिले ररते = । दस लिये जो att तिसद्दाटमे सावघान रहता डे, fast at निश्चय कर के गठरौ वचतौ F ॥२९॥
चपा | पुनि आर सिंघल-गढ पासा। का बरनड जनु लागु अकासा॥ तरहि gaa बासुकि कड Tat) ऊपर Feta पर डोरी ॥ परा खोद. चहं दिसि तसर्बांका। काँपद्र sia जाद नहिं Ria अगम Sax देखि उर wei awe at सपत पतारदहि जाई ॥ नउ ust बाँकी AT खंडा। नउ-उ Al Wee जाद ब्रहमंडा॥ कंचन कोट जरे AT AMAT नखतन्र भरौ sty जनु दौसा॥ लंका चाहि ऊच गढ aati निरखिन जाई दिसिरि मन धाका। दोद्दा | दिञ्र न समाई दिसिटि नहिं जान sre सुमेर | कहं लगि aes उचाई कह लगि बरनड फेरु ॥ ४०॥
करुम = FA = कच्छप । वासुकि = वासुकि-नाग | खो इ = खन्धक | क == कद्र-उ = ws ॥
फिर सिंघल-गढ के पास जो ary, (तो देखने से बुद्धि थकित हो जातौ इह) । उसका क्या वणेन HEI (TAA Ha रहे), जनँ श्राकाश्र मे लगा श्रा हे॥ aw (तरदहि) तो (वद) कमै रर वासुकिं के Ds तक चला गया §ै, ओर उस के ऊपर देखने से टृन्र-लोक पर इष्टि पडतौ ₹हे, श्र्थात् इस कौ नौव Ha रर वाखुकिके Ha पर =, अर HU इतना रे, कि उस aw a इन्द्र-लोक देख पडता ₹हे। (Ha Are वासुकि- नाग va के श्राधारोँमेसेरहे। quai मे am =, कि Ha, वाराह, गेष-नाग, वासुकि-नाग, र दिग्गज, ये wa veg} को धारण किये हे, जिषसे यह TI at नरः जातौ । कमौ aay ये लोग जव ata से यक कर श्वास लेते डे, aa AA होता S) तेसा कठिन (राका) उस गढ के चारो we खन्धक vet 3, fa का नौ जाता,
eR पदुमावति | २ । सिंधल-दौप-बरनन-खंड | [ge
द्याकने से जोँघ कपने लगतो 2 श्रगम्य ओर way उस खन्धक को दख कर, रेषा उर (भय ) उत्यन्न होता हे, कि ve भय (शरोर) खाने लगता ह) (यदि) को$ उसमें पड जाय (भिर जाय), at ae सातवें पाताल में चला जाय, अर्थात् खन्धक कौ गराई सातवं पाताल तक चलौ AE Bi Aas, वितल, सुतल, तलातल, WEAN, रसातल, ओर पाताल ये सात नौचेके लोक हे, जिनमे Maat पाताल हे (भागवत, पञ्चम-स्कन्ध, Raat अध्यायके oF gta at देखो) । उस गढ मे नव खष्ड है, ओर as) atta ( gay) नव डेवट ह । नवो Safeal पर जो we जाय, वह (जानें) agree पर चढ़ गया, चर्यात् वह गढ AACA हे, प्रत्येक मल wT yea के लिये एक एक उवद $ । नवो को Wig कर, तब ऊपर WEVA होता ह, ऊपर पञ्चे पर जान पडता $, कि ब्रह्माण्ड के ऊपर पटच गये । सिद्धान्त शिरोमणि मे भाखराचायं ने लिखा ₹ कि-
के टिक्ैनेखनन्दषट्कनगग्वग्वश्द्ुजङ्गन्दुभि ९८७९७ ६९९०००००००० ज्यो तिःग्रास्रविदो वदन्ति नभसः कच्चामिमां योजनैः | तर् ब्रह्माण्डकटादसन्पुटतटे केविन्नगुव्टनं — द्रत्यादि
चर्यात् faa ब्रह्माण्ड के भौतर vat, ग्रह, नचच्रादि, रार सव लोक ह, ae दो कराड के सम्पट एषा ह, जिस AI GT ९८७१९७६९२०००००००० योजन ड॥ व कोट (गढ) सोने aT, WT उसमें करई प्रकार के सौसेलगे रहै । उससे उस की va wat ह, जानो नक्चों से भरौ विजलौ देख पडतौ Fy सुवणं विजलौ, ओर सौरे नक्तच्र के सद्र सम्यो । उस गढ को wet Va Gea ter) निरख नरं जाता, निरखने से ( निरौचण करने से) दृष्टि ओर मन थक जाते ॥
(उस गढ कौ सब रचना) न aad समातो, Aca दृष्टि Fan) जान पडता डे कि गढ नरौ, सुमेर पवत खडा है। कहां तक उस कौ उचा क, ओर कां तक उसके फोर (परिधि) का वणेन we कवि का ame है, कि जवं वह मन रोर दृष्टिमे वार ह, रार उनमें समाय नरी सकता, तव कां तक उस का ada दो सकता डे ॥ सुमेर सुवणं का पवेत दे, BT उस के चारो श्रोर नचत् want हे, दरस लिये सुमेर का उपमा देना योग्य Ti २१-४० दोषे मे गावने-वाले श्रपने मन से कद पद् मिला दिये है, जिनको मे ने निकाल दिया हे, क्योकि छन्दो-भङ्ग दोष पडता या ॥४ ०॥
४९ सधाकर-चन्निका | र्
च पादै | निति गढ बाचि was ससि छरा । नाहि त होड बाजि रथ चुरा॥ पडरौ नडउ-ड बजर कड साजौ। सहस awa तह aed पाजौ ॥ फिरहि पाँच कोटवारसो WaT | कांप पाड च॑पत वद UT पउरिहि पडरि सिंह afe are) डरपहि राइ देखि fare ठाडे।॥ बह विधान az नाहर गदे। जनु गाजदहिं चादि सिर aes टारहिं पृि पसारहि ster) कुंजर उरि किगुंजरि लौडा। कनक-सिला afe सदौ we । जगमगाहि गढ ऊपर ताईं ॥
दौद्धा ।
नउ-उ खंड नड wa अड तेहि बजर कवार । चारि बसेरे ay Yer सत सउ VST ST पार॥४१॥
वाचि = ब्व कर । ससि = शशि = चन्रमा | सरा = खर = सये । बाजि = वाजौ = घोडा । चरा = चूर = चूं । वजर = वञ्च । पाजो = पत्ति = पेदल सिपादौ = योद्धा । काटवार = कोट-पाल = कोतवाल | HAT} = BAT = FT । राद् = राजा। नाद्र = सिंह । टारदिं = टारते ड = दधर उधर दिलाते sy । पसार हि = फेलाते F । ˆ 1 दा = fast = जभ । कुजर = weal) गुंजरि = Fat कर = शब्द कर । लोदहा= 4ता FI बसेरा = निवास-स्थान । पार = समयं = FT ॥
चन्द्रमा ओर सये उस गढ (गाढ = दुगं = किला) को बचा कर नित्य चलते §, नरौ तो उन के घोडे We रथय चूर हो जाते (गढ के टोकरसे)। (दरस से श्रत्यन्त गढ at oak सिद्ध जई, कि खये चन्द्र कौ क्ता भौ उस के wt as A ३, Are पुराणौ मे कथा डे, कि मेरुके चारो WT चन्द्र, यं wad ड | fied AIT गढ at सुमेरु कषा डे, इस लिये पूर्णोपमा यदहं पर रई) ॥ नवो Fast वज्र कौ सजौ Et ङ, तहां दजार हजार योद्धा लोग as Fu शार पाच कोतवालनजो ड सो wa fact करते =, अर्थात् fea रात ate Fat श्रोर au किया करते डे ca faa उन पौरियों पर चैर Vast aaa Fn पौरो पौरो पर fae गढ कर काटे €, शर्यात् बनाये गये दं । जिरन्दं खड़े देख कर राजा लोग (स्वा सिंह समदम कर) उरते
६४ पदुमावति | 2 | सिंघल-दौप-वरनन-खड | [8% - ४२
ह aga विधान (विधि) सेवे सिंह ae इए €, श्र्यात् सचे सिंह से उनसे कु भेद नरो समद पडता हे वे रेसे जान पडते ड, जानें गरजते है, चार शिर पर चटा चाहते Fy वे पं को fea दै, Me Ma at Gara F 1 (<a Ver at देख कर) हायौ era 3, fa ये सिंह gent कर श्रव लिया awa zy सोने a शिला को गढ कर (गढमे) सोटौ लगाई ak S, जो कि गढ के ऊपर तक जगमगातौ = ॥
नवो खण्ड मे नव Safeat है, ओर तिन मे वच्च के केवाडे लगे । जो को सत्य से, श्र्थात् निष्कपट यवहार से, wet मे समयं हे, वद चार दिन बसेरा कर ( रिक कर), तब (उस गढ पर) चढता डे, अर्यात् fea को उस के सद्य यवहार से चटने क्ये arc भिलतौ =, उसे गढ पर चढने मे चार दिन लगते = ॥
aet पर गढ को WO, र at Big, दो कान, दौ नासिका के GR, Are दो dasa ये नव पौरौ, ओर प्राण श्रपानादि पाच वायु को कोतवाल, दडयां कौ aq कपाट, Trarfeat को योद्धा, ओर श्रन्तःकरण-स्थ श्रात्मा को AS का राजा माननेसे, श्र्यान्तर दो सकता Su ४९१॥
चपाई |
नव पडरि पर cay gar तेहि पर बाजु राज-घरि्रारा।॥ धरो ar बदरि गनद धरि्रारौ। पहर पहरसा आपनि बारौ॥ safe धरौ पृजद वह मारा। धरो धरौ धरिआ्आार पुकारा॥ परा जा sig जगत सब set! का निचित मारौ के भांडा। तुम्द तेहि चाक we हाद ata sou farm न धिर होट aA घर Si भरद WE qe asi का निचित Aras रं बटाञ॥ पहर हि पदर गजर fafa हाई। fest निसोगा जागु न ase TET |
मुहमद् जौश्रन जल भरन Tez धरौ कड् रौति। परोजा आई MAA AT ढरौ जनम गा बौति।॥ ४२॥
82] सुधाकर~चन्द्रिका | ६४.
राज-धरिश्रारा = राजा का AT! Ta को पडले सूरत घरियार (जल-यन्त्न) के सो रोतो यो। दसौ लिये दस का घरियार नाम श्रा | घरौ = घटौ = जल-घटी। पहले यह EMT पल तामे कौ क TPA AM, We बारह aya faga गोलाद्धे के प्राकार कौ at वनतौ यौ, faa मे साठ पल पानौ at) दूस के नोवे ata मासा भर एक मासे कौ तिहाई सोनेसे जो गोल VT HPA लम्बा तार बने, उस से कट् कियाजताथा, SA ez से Awe A वा जल प्रं पाचमे घटौ at कोड देने से, साठ पल वा एक घडो (नाडो) मे वह भरजातौ यौ Tae ज्योतिष सिद्धान्तमे sata a, जो कि ce शाका (९०३९ fe) a ये, लिखा हे ‘gaa दि भि विदितं पलेयत् षडङ्गलोच्च दिगुणयतास्यम् | तदम्मसा षष्टिपलेः we ws घटाद्धप्रतिमं wet स्यात् ॥१॥ सं ्रमाषचरयनिमिंता या Va: TAHT चतुरङ्गुला स्यात् | fag तया प्राक्रनमचर पाच प्रपूयते नाडिकया ऽष्टना तत् ॥२॥ घरिश्रारो = घण्टा बजाने-वाला । पदर = प्रहर । बारौ = वार = क्रम = UIT Sis = ण्डा = घण्टा बजाने HT लकड । डंडा = डंटा = sual | fatwa = fafa = बे- फिकिर। भंडा = भाण्ड = aA | चाक = चक्र, HST का । कचे = कचं | fat = स्िर। श्राऊ = WY) गजर = गजेर = गजल | निसोगा = निग्रोक = निश्चय कर के जिसे शोक हो, अर्यात् श्रभागा। सोद सो कर ॥ रट = पुरवर = HITE | जोश्रन = जौवन = fant वा जल ॥ aay परौ के ऊपर एक cual दार हे, faa पर राजा का घण्टा बजता F ॥ घण्टा बजाने-वाला जो हे, सो as कर ast at गिना करता द्ं। Ber वे बजाने-वाले पदर पर पर WIA श्रपनो पारो मे करते दे, श्र्थात् पदर पहर पर परा बदला जाता हे। तब एक एक कौ पारौ श्रातौ हे ॥ जव घडो (जल-घडौ ) भरतौ हे (gaat 3) तब वद बजाने-वाला (घण्टे पर लकडोसे) चोट मारता रै, (दख प्रकार से) ast घडौ पर घण्टा पुकारा करता Sy घण्टे पर जो डण्डा पडता डे, सो (जानें) सव जगत (सब मनुष) को sizat &, fH Bast के वत्तन क्या निन्त द्यो ॥ (ae नरो मालूम कि) तुम कञ्च हो कर तिस Sax के चाक पर we हो, (दस लिये) त॒म (zur से उधर) फिरने के लिये ara et सिर हो कर बेच नदौ aaa Ax ai at घडो भरतो, त्यों at तुम्दारौ arg घटतौ हे, (दस प्रकार जब aad 9
Ra पदु मावति 12 | सिंघलदौष-वरनन-खंड । [४२-४द्
खरावौ हो Tet रै, तव) Bt मुसाफिर (बटाऊ) तुम क्या निधिन्त सोते डो ॥ कवि कता रै, कि आर्यं रहे, कि लोगों को सावधान करने के लिये पहर पहर पर नित्य गजल EA करता ह, ( परन्तु ) ae निसोगा (saat) wa सो कर जागता wel Th
qeag कवि कहते हं, कि पुरवट र ast मे जेसौ जल भरने कौ रौति रै, वेसा-दहौ we (मनुय का) Taw S| जो Bet श्रा कर naa को भरौ, aed फिर ढर गई, श्र्थात् खालो हो गदै, (ठेखा-हो करते करते करै) जन्म ala गये ॥ एक श्रये मे ast से श्ररौर, भरर जौवन से जिन्दगो, दूसरे मे घडो से जल-घडो,ज्रोर जोवन से जल समद्यो ॥ ४२॥
चपा | गढ़ पर नौर खौर gz aati पानि भरि जदसे caval ॥ Bye कुंड पक मोतौ चरू। पानौ अरंत्रित aly कपूरू | अहिक पानि राजा uta) बिरिध होइ नहिं जड लहिजौखा। कंचन बिरिखि wa तेहि पासा। जस कलप-तर् इंद्र कविलासा॥ मूल पतार सरग च्रोहि साखा। अमर बेलि को पाड का चाखा।॥ चांद पात अउ फूल तराई । हाड उजिच्रार नगर जहं ताई॥ वह फर uaz तपि ag ate बिरिध खाद ay waa होड ॥ दोहा | राजा भर भिखारौ सुनि ओहि अत्रित भोग। AT पावासो BAT aT नकिल बिञ्ाधिन रोग॥ ४३। नोर = जल । खीर = चोर से पका चावल । दुरूपदौ = द्रौपदौ | पदर = परन्तु | विरिध=दृद्ध। विरिख= aa) कलपतर = कन्त्य-तरू = HVT । पतार् == पाताल | सरग खगं । साखा = शाखा। बेलि = वल्लौ = लता । waa == यौवन । बिश्राधि = व्याधि ॥ गढ पर नीर जरर सौर नामक दो नदियां F । र्यात् एक का पानौ तो पानौ- रौ ३, gat का पानो Se FS नदियां agar च्रपना पानौ भरतौ हं, श्रय वहां के लोगं को देतो है, HB द्रौपदौ gist पाण्डवांकौ al (महाभारतम कथा 2, कि FWA थोडा भौ भोजन बना कर, सव किसौ at खिला देतौ यो, Ax
४२ -8४| सुधाकर-चन्द्रिका | ६७
भण्डारा नदो Get Bla या। जव वद खा लेतौ यौ, तब भण्डारा खालो दहो जाता या ( मदाभारत, FATA, दे WITT का ७२-७४ श्लोक देखो) । कवि का श्रमिप्राय हे, fa ctat afeat a W द्रौपदी कासा धम है, कि स्व लोग नौर MT सौर को ययेच्छ रात fea पौश्रा करतेदहें, परन्तु घटतौ नदो । (नदियां ai कौ त्यों उन से भरौ रतौ है) ne एक मोतो के चृणं का बना कुण्ड है, जिस का कौचड कपूर MC पानौ श्रत Tu परन्तु (जेसे सब वे लिये दोन नदियां सुलभ है, वेसा यह कुण्ड नह ) । दष का पानौ केवल राजा-रौ Wal S 1 दसो कारण जव तक Mar 3, ag नरो दोता॥ तिस कुण्ड के पाख एक कञ्चन (सोना) का ठठ रै, (उस कौ TH णोभा ह), जैसे राजा इन्द्र के aR केलास में कलत्य-टृच शोभित दो ॥ यहां भौ केलास से श्रमरावतौ समद्ना Wheel उस waar मूल (जड) पाताल, ओर wear खगं तक (wat गश) 21 रसौ ज्रमर-करने-वासती बेलि (बेलि के फल) को कौन पावे ओर कौन we, भर्थात् sam काटिन्य से कोद्र भाग्यवान् पावे तो पावे॥ उस टच के पत्ते (पात = पच) चन्द्रमा, Ae फूल तारा-गण हे, (द्रौ कारण रात को) जहां तक Wet रै, तदददं तक Gat से saat Tat Fu कोई तपस्या कर के (तपि) उस फल को पाता ई) उस फल al दद्ध खाय, तो va aT भौ नया यौवन दहो जाय ॥ उस waa भोग (फल) को सुन कर (कितने) राजा भिखारौ दो गये, श्र्यात् राज-पाट कोड दिये जो (उस फल at) पाया, वड श्रमर हो गया, (फिर) उसको न ge aify et Are न रोग॥ यहां aris F श्रौर के बाहर का रोग, र रोग से श्राधि, श्र्थात् wT के भोतर का रोग, FART Ig al चपा | गढ पर बसहिं कारि गढ-पतै। श्रसु-पति गज-पति भू-नर-पतो ॥ सब क धरर WAT साजा अख अपने अपने घर राजा॥ ङूपवंत धनवत समभागे । परस-पखान पडरि तिन्ह लागे॥ भोग बिरास सदा सव माना। दुख चिंता कोड् जनम न STAT afer मंदिर सबके WUT | बदटि कुरर सब खेलं सारौ ॥ पासा etx खेलि भलि शई । खरग दान सरि पूज न AE मारि बरनि afe कौरति wat) पावहि धार हसति fag ॥
६८ पदुमावति | २1 सिंघलदौप-बरनन-खंड | ( 88
दोषा t मदिर मदिर geal aa चंदन बास | fafa fea रद् बसंत तदहं छवा रितु बरहा मास॥ Be |
aft = बराय कर = BIS कर = केवल == खालो । श्रसु-पतो = अरश्व-पति । धचर- इर = धरदरा = भुवहर = परव के एेसा ऊंचा स्थान | परस-पखान = स्र-पाषाणए = पारस | facra = विलास |) SST = चतुः-पाट = WATT = वैटक। सारौ पासा । खरग == खड्ग । सिंघल = सिंघल का ॥ बरडो = बारहो ॥
गढ के ऊपर BTC कर के, भ्र्यात् केवल, गट-पति, श्रश्च-पति, गज-पति, ग-पति रोर नर-पति लोग बस्ते है । अरां को श्रधिकार ael fa ग्ड के ऊपर बसे ॥ जिन के अधिकार मं एकाध mal दो, वे गढ-पति कदलाते है । जिन के अधिकार म कुक घोडे भार eat Bi, वे क्रमसे श्रश्-पति चार गज-पति कदि जाते ह । जिनके श्रधिकार में कुक ufa Mt कुक ata श्रर्थात् सिपारौ डाँ, उन्द क्रम से श्-पतिओर नर-पति Hed रह । सव लोगों के धरदहरे ( उच्च-म्थान) सोने से सजे है, ओर वे मव श्रपने श्रपने घर म राजा-हो FTA हे, श्र्यात् राजा faa प्रकार का सुख भोगता हे, वेसा-रौये लोगमभौ ata Sn सव लोग सव॑दा भोग Are विलास-दहौ को मानते डे, चर्थात् भोग विलास-हौ मे समय को यतोत करते इहे, कोद जन्म भरम Wy ara are चिन्ता को नदौ जानते, कि क्या पदां डे ॥ Theat कौ सुख-साघन सामगो को भोग aed दं, भचार बाहर कौ tat को faa कते हे ॥ सवके मन्दिर मन्दिर म बेटक (चउपारौ) ड, वद्यं ( गट-पति, श्रश्व-पति इत्यादि के) FAT (बालक ) सव FS कर् पामा (सारौ) खलते SF ॥ पामा ढारा (Har) जाता हे, ओर अच्छो ate से खेल दोतौ Fi यदह न ws van, किवे Gar केवल Gav FT दिन faara दँ, <a लिये anal चोपा में वणन करते है, कि ag ( चलाने) Are दान (देने) मे उन Hart at वरावरौ म को नदो assat (प्रजा), श्र्थात् बे SA खङ्ग चलाने HAT दान BAW as बहादुर ॥ भट लोग उन ati क quar कर, ओर श्रच्छौ तरद से (कविता कर), उन कगे HPA कद कर, घोडे आर सिंघल के दायो पाते ह) श्र्यात् Har लोग रसे उदार, कि एक एक प्रणमाम wie Src दायिश्रां से भारो को wary कर देते Fy
४४ ~ ४५] छधाकर-चन्द्िका | RS
मन्दिर मन्दिर ने फलवारौ से star Ae wea Fare Wa ह । तां aT Bat aq, भरर बारहो महीने में, रात रिनि वसन्त खतु रतौ डे ॥ केवल Sat खतु-दो के कदने से बारहो wera al बोध हो जाता ई एयक् HVAT का कहना qaqa हे । श्र्थात् WA श्रये को पुष्ट करने के लिये, महोनां को भो एक् का Tg si
चपा |
पुनि चलि देखा राज-द्आरू। मदि धुविञ्र ures नदिं बारू॥ हसति सिंघल बांधे वारा । जनु amy सव॒ BTS पहारा॥ कवन-उ सेत ula रतनारे | कवन-उ हरे धूम AI AT atafe बरन गगन जनु मेधा। अड तेहि गगन पौटि जस sat सिंघल के बरनउ सिंघलै | पक va चाहि wa पकं बलौ ॥ गिरि पहार हसती सब पेलहि। बिरिख उचारि फारि qa Fae | aja निमते गरजदि बधि । fafa fea tefe महाउत काँये। tet |
धरनौ भार aA ATS पाड धरत उठ हालि, कुरुम टट फन wes fae हसतिन्ह् के चालि॥ gy
SMT = दार = द्रवाजा। मदि = महौ = Fat पूर्वि = afaa । पाट्श्र = Ta | बार = वारा = बार = दार | सजो = सजोव । कवन-उ = कञ्चन = को ऽपि = कोई । सेत = खेत । पौत = पौला । रतनारे =रक्र लाल दरे = हरित। टचा =श्राधार)। पेलि = ठकेलतो हे । मति = मत्त = मस्त) निमते = विना मत के, बे-समद्ध, जो कना म माने | मदाउत = महामात्र = पौलवान् ॥ धरनो = घरण एवौ । श्र गवदै = श्रङ्गौ- कार करतौ हे = सहतो हे । कुरुम = Fa = कच्छप ॥
faq चल कर राजद्वार को देखा, wet सव vat धूमिये ( परन्तु) दार न पाद्ये | चर्यात् cat भोर चारो भरसे डटो रतो हे, जिस से aay नदो पडता, fa किस श्रोर दार Fu दार पर सिल के रायौ a । बे Ta जान पडते है, जानें afea जोव के (जिन्दा दो कर) सब पाड aS Foy कोई श्रेत, कोई Wa, कोई
9° पदुमावति । २ | सिघलदौप-बर्नन-खंड | [४५ - 8६
लाल, कोद दरे, att we %, VT कोई काले Sn (Ve, aa, इरे रगके हाथो नरं देखने मे आये ईं । रगे रंग देने से रंग बदल जा सकता ₹े)। जानें गगन (श्राकाश्र) मे वणो वणं (रंग-रग) के मेघे (बादल) है । We तिस waa उन कौ zs BA जान पडती F, जेसे Far (श्राधार) 1 श्र्यात् वे weal wat ऊंचे हे, जानें श्रपनो Ws Bara को रोके su Sy स्घिलके हाथियों का वणेन करता = कि एक से एक बढ कर, MT एक से एक बलो F ॥ स्व दायो गिरि Wer पाड को waa देते दै, Mt as को उखाड कर (उचारि), भार उन्दं फाड WE कर, मुख मेः डालते ई । ( यदं गिरि से बड़ा gers, भार पाड से साधारण पदेत लेना चाहिए । यदि गिरि केस्यान मे ‘fav’ पाठ दो, तो श्रच्छा। तव चोपाई का श्रं ‘gy eat (जव) ठकेलते रहै, (aa) Vets गिर पडता रै, Bar करना चादिये)॥ मस्त दाधौ बे-समड्प हो कर, बंधे EU गर्जते दं, (TT कारण उपद्रव के way) उनके aa पर रात दिन मदावत cea = I
ad के wae, Vat उनके भार को नदौ ae सकतौ, fea gaat हे। उन हाथियों के we @ कूम at We ce aat &, ST WY AT AW AS WaT SB yn
चउप्राद् |
पुनि बधि रजवार तुरगा । का बरनउ FA उन्ह के रगा॥ लोले सर्मुद चाल जग जाने । हाँसुल भवर fare बखाने। हरे ata ASH वह् Vial । ATT कोाकाहवबुलाद सो Vat | ate तुखार wife wy aa acute aafe नांचि बिनु हकि। मन तदं अगुमन डोलदि बागा। देत vata गगन fat aa uafe aia समुद् पर धावहि। awa पाडपार हाद आवहि॥ fac न vefe रिस लोह चबाद्यी। भाँजदहिं पदि Ma wae)
दोष्टा |
परस तुखार सब देखे जनु मनके रथ-बाह। नयन पलक पह चावहौ «WE पहचदर AT चा ॥ ४६॥
8¢] पुधाकर-चन्दिका | ७९.
तुरग = घोडा लले नीले रग का घोडा, श्राज कलभ दसौ नाम से प्रसिद्ध = (abet नौलक vary दति जया दित्य-रते ऽशवे ये ) ॥ समुंद = समुद्र के फेन सा जिस घोडे ar UH Bt, TA श्राज कल ATS समंद ath बद्ामौ कता हे॥ दासुल = कुमेत-दिनाई, श्र्यात् मेहदौ के TH A सव qq Vt, BT wT पेर कुक काला faa भवर = मैरे. का सा रग, जिसे श्राज कल gat aed हे ॥ fase = ( कियाद ) जिस घोडे का रग पके ताड के फलके Tar दो, ( पक्रतालनिभो वाजो कियाहः परिकौत्तितः-दइति जयादित्य-रते HATH) ॥ दरे = दरे रग का घोडा, दस रङ्ग का घोडा दुलभ ई नहीं मिलता। पुराणएमे aur, कि aia waa दरे घोडे ड । कवि ने प्रशंसां लिख दिया Sy कुरंग = कुलंग = aad, जिस atc लाके साहो, दसे नौला GHA क्ते = ॥ मह्ध्र = मह्धए Ata जिस at Ca Vn गरर दसे भ्राज कल्ल लोग गरा asa ह faa के एक Ce लाल, भार एक सफेद, सिंचडौ दो ॥ कोका = कोका, सफेद घोडे को कहते डं, (श्वेतः कोका दत्युक्तः-रति जया दित्य रते ऽशववेदयके ) । बुला = वोल्नाह, जिस के गदेन WT Ge के वाल De हां (बोल्ञादस्वयमेव स्यात् पाण्डुकेशररवालधिरिति हेम-चन्द्रः)। टन घोड़ों के लिये सन् १८८६ मे कपानं० ५७४ वद्गल एश्रियारिक starsat के श्रश्ववेद्यक के तौसरे gers FH १००-९१० wa ओर ओका देखो ॥ तौख = तौ = तेज । तुखार = घोडा ! च॑ डि = चण्ड = प्रचण्ड = बड बरौ । बके = वद्ध = ररे = कठिन । तरपि = तडपदहिं = तडपते ह । aafe = qufe = तपते =, FA श्राग के ऊपर पेर पड जानेस, पेर को इन दन yeaa Fy श्रगुमन = श्रगाड = पदले । डोलदिं = डोलते Tawa द । बाग रास, जिसे पकड कर घोडे को vind डं, जो कि लगाम में ams जातौ डे, दन्दुस्ताती aa कौ, बिलायतौ चमडे को, रोतो रहे (दसौ बागमे णो घोडेको बांधनेके लिये TO लगा रेते इ, उसे बाग-डोर HVA SF) उसीस = उच्छास = यहां, घोडे के चलाने के fags”, Tat TAIT ससि श्वास, य्दा दशारा॥ रिस = रोषसे।लोहन्=लगाम। तवाद = wala = । Hints = vine F = Ga ह । aya = शोषं = शिर ॥ उपरादो == ऊपर-रौ = ऊपर ॥ रय-वाह = रय रांकने-वाला = सूत = को च-वान = गाडो-वान ॥ पलक = पलक भजने मे जो काल Il
फिर राजद्वार पर घोडे बधे है, उन FATE SY, उन का क्या वणेन कर ॥ को$ Ma ओर समुंद हं, जिन कणौ चाल को जग (जगत् के सब लोग) जानता F,
ad परदुमावति 12 | सिंघलदौप्र-बरनन-खंड | [४९ - ४७
att हँसुल को$ wat रार कोई fae बखाने जाते F, श्र्थात् as जाते Fo बहत प्रकार (भांति) के हरे, कुरंग ( कुलंग) Me awa Ss, (दन घोडा के दलका ae गदरा रङ्गो जानेसे ्रनेक मेद होति ह), गर stare, शार gare st है, सो पातो के प्रातो ₹े, श्र्थात् एथक् एथक् एक एक कतार A बधे S ॥ एसे तौच, प्रचण्ड शार बके घोडे ड, कि विना दोँके-रही नांच (नांच ata) कर asa are तपते Fi बाग से, र्यात् वाग को लेते-दो, Bae a श्रागे चलते र, श्र्यात् मनक गति से भो श्रधिक गतिद्े। sure देते-हौ श्राकाश्र मे (उनके) शिर लग जाते F, श्र्यात् रसे उडते द, कि उनके भिर war मे लग जाते ड ॥ जव दृशारा Was, तव समुद्र पर gist Fi (दस तेजो से दौडते इ, कि) Ge gat नही gar, Bre पार हो ma =u स्थिर नरौ रहते, रोष से (र ast) लगाम चवाया करते F, भार शिर के ऊपर पक BU करते दहं ॥ ( वदाँ at) एेसे घोडे देखे, जाने मन के दोँकने-वाले हैˆ। ओर sei कोई पडचना चाहे, तहां नयन (BiG) के पलक भजने मे पचाति = gen AUT |
राज-सभा पुनि देख asati इद्र-सभा जनु परि az AR)
धनि राजा असि सभा watt | जानडं फलि cet फुलवारी ।
मुकुट बधि सब asd राजा। द्र निसान सब जिन्ह्के वाजा | रूपवंत मनि दिपद् लिलाटा। aay कात azz सव पाटा। मँनड कवल सरो-बर फुले। सभा क रूप देखि मन भूले॥ पान कपूर मेद HEAT । सुर्गध बास सब Tet BIT माभ ऊच इदरासन BIT) गधरब-सेन 3s तद राजा।
दोद्धा | छतर गगन लगता कर Al तवद् जस ATT | सभा कवल अस विगसद् ATA बड परतापु॥४७।
दर = दल = सेना | निसान = fama= डका । मनि = मणि । fear = दिपता = वरता ह । लिलाटा = ललाट = मस्तक । मांयद् = माधे मे । रात =क्र । पारा पह
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। । | १६० पद् मावति | € | राजा-सुखा-सवाद्-खड | [roo
Sure |
राजई् we ऊभि ag atari अदस बोलि जनि ae निरासा॥ भलेहि पेम हद कठिन दुहेला। दुद जग तरा पेम जंद खेला ॥ Wat Ta AT पेम मधु राखा। गंजन मरन BET जा चाखा॥ जा नहिं ata पेम पथ लावा। से पिरिथुमि मह काहेकञ्ावा॥ अव मद् पेम aie सिर मेला। पाड न Fa WE कड् FT पेम-बवार सा कद जो देखा। FI न देख का जान बषिसेखा॥ तबलगि दुख पिरितम नहिभेटा। faa at गड जनम दुख ATT I
दोद्धा |
जस अनुप gz देखौ नख-सिख वरन सिगार) हट मोहि आस मिलद् कड जड Away करतार ॥१००॥
स्ति राजा-सु्आा-सवाद्-खंड ॥ < ॥
ऊमि = ऊब कर उद्विग्नो कर | सांसा=श्वास । निरासा निराशा आशा से रदित 1 भलहि भले से। पेम प्रेम । दुडेला = दुला = दुष्ट-खेल = दुःख से भरा, मधु = श्रद् । गंजन = WMA = मान-्वंस = WIAA भरन = मरण । सद = सहता हे । चाखा = चाषा = चा = ere लिया। सौख = शोषं = भशिर। पंय=पन्या = राद पिरिथमि ~ a fed = भूमि । मेला = डाला । पाठं = पेर । au = टाल = Bata । रासु = रख । कद् = कर के। चेला = fag) बार = दार) बिसेखा = विशेष । पिरितम = प्रौतम = प्रियतम = सखव से am नख नद। सिख श्खिा=चोटौ। बरन = वणंय = वणन कर । सिंगार = प्रङ्गार् । श्राख = श्राश्ना = Vas) जडं यदि मरवद् = मिलावे | करतार = HUNT: = FEIT ॥
(ष्क के कहने पर) राजा ने Ha कर (घबडा कर) श्वास लिया, (Ae कने लगा, कि) ta} निराग्र बोलो मत (जनि) बोल ॥ भलेसे दुःख से भरा (दुडेला) परेम कठिन ई, (परन्तु) उस प्रेम से जिसने खला वह दोनों जग को तर जाता §,
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अनुकरण । श्र-निसि = aefan = दिन-रात | चिललाई = वचिल्लाता हे। रोस = रोष क्रोध | नागन्द = सर्पौ को । Viegas = पाण्डक = पेडुक । fay == ग्रौवा = गला । चादहि = SEI कर के = चाह से। तौतर = तित्तिरपचचो । निति-दि = नित्य-दि = नित्य-हौ । रोख = दोष == पाप | कित =क्यां। मोख = मोच I
( शक ने wer, कि) राजा प्रेम को सुनते-हौ wa A a wat प्रेम कठिन होता दे दस के लिये शिर दे दे तव (तो) (यद प्रेम) काजता दे (सोदता हे), अर्थात् विना भिर दिये प्रेम कौ शोभा नहौ॥ प्रेमके फन्दे a यदि पडा, तो (फिर वह) नहीं Heat | बते ने जौ दे fear (परन्त प्रेम का) फन्दा नहो टूटा, श्रघात् जो के सङ्ग-रौ गया ॥ जितना गिरिगिर कन्द को धरता डे, अर्थात् रूप को बदलता हे, तितना (za प्रेम मागमे) दुःखदं) (इसमे पड कर प्राणौ) Tq मे लाल, पीला, MT क्षणे श्रेत होता रहता हं ॥ प्रमदो को जान कर, HAT जो दे, सो वन-वासौ श्रा, अर्यात् We से विरक्त श्रा, (ओर दसके) रोमरोम मे नग-वामौ (नाग-पाश) के we पड़े ॥ वौ (सो) नग-वासो फन्दा धूम घूम कर (किरि फिरि) (दस के) Vat A पडा, (दसौ कारण यह) उड नरौ सकता, Me कैद at at, BHT रता दहै, अर्थात् wat रदता ह (मयूर के रोर चार् परं के ऊपर जो चिच्-कारौ दे, सो नाग-पाश्र we के Bet जान पडतो =) ॥ (फसने-दौ से दुःखो दो कर) GSE मुण्ड (मरा, मरा) Tar चिल्लाता ड, भार sat रोस से, (कि aa Rae H मे Har x), नागों कौ घर कर (पकड कर) खाता Fy Gat ओर WH के कण्ठ मे भो वौ (ee at) few हेः (खो) जिसके गलेमें (फन्दा ) पडा, वद चादसे (Haat) जौ देता दे ॥
Dat RUG HR जो फन्दा ॐ, (sat लिये) (ae) नित्य-हौ (aaa) दोष को पुकारता 1 (Bar a दता, तो) वह (सो) क्यं पुकार कर (कारि) गले मेँ aa को डालता (Haz), Are क्वा मारने से मोच var डं, श्र्थात् नदो होता ॥ agi कवि al saat =, कि तीतर के गले मे जो कण्ठ-खूपो we रे, उसो से eat दो कर, तौतर बोलता =, जिस कौ बोल सुन, याघे Ga we मे फसा लेते ङ, ओर मार डालते ई, तव, जौ के जने WT AY, उख के गले का फन्दा नदौ zea, द्म लिये ऊपर जो कड wa दं, fa “जौ दौन्द aE फांद न ट्टा यह् qpa atm इ ॥५९८॥ |